All applicants to the Contemporary Commercial Music (CCM) program must submit an electronic portfolio via GetAcceptd.com and complete a live interview (via Zoom or in person). This process helps faculty understand your artistic identity, musicianship, creativity, and overall readiness for the program.

Please note:
An in-person audition is not required.
However, after reviewing your materials, CCM faculty may request an in-person follow-up audition to better assess your musicianship or artistic fit.

1. Portfolio Document (PDF or Word File)

Upload one document that includes:

• A list of your original songs, performances, productions, and/or recording projects
• Links to audio/video materials (if not uploaded directly)
• Any relevant background information about your artistry

2. Required Audio Submissions (4 Tracks Total)

Each applicant must submit four (4) total tracks that highlight their versatility, creativity, and musicality.

A. Two (2) Original Songs

Originals should reflect your artistic voice—whether through songwriting, production, performance, or arrangement. Demos, full productions, or live recordings are acceptable.

B. Two (2) Cover Songs

Choose two covers from artists commonly represented in Contemporary Commercial Music. Suggested artists include (but are not limited to):

• Bruno Mars
• Beyoncé
• Michael Jackson
• Taylor Swift
• Charlie XCX
• Billie Eilish
• Kanye West
• Eminem
• Nicki Minaj
• Doja Cat

Covers should demonstrate stylistic awareness, interpretation, and your ability to perform within CCM genres.

Submission Options

• Upload audio files directly to the “Sample Recordings” section OR
• Include links in your portfolio document

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3. Personal Statement

Submit a one-page statement describing:

• Your musical journey and personal development
• Artistic influences and genres that shape your sound
• Why you are pursuing the Bachelor of Music in Contemporary Commercial Music
• What you hope to achieve in the CCM program
• Your long-term artistic and professional goals

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4. Letters of Recommendation

Provide two letters from individuals who can speak to your musicianship, work ethic, creativity, or leadership. These may include teachers, mentors, producers, employers, or coaches.

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5. Live Interview Requirement

All applicants will complete a live interview with CCM faculty to discuss their creative process, goals, musicianship, and program readiness.

During the interview, you will answer one of the following questions:

Option 1

“If you were invited to collaborate with your dream artist tomorrow, how would you prepare for the session, and what would you hope to bring to the collaboration?”

Option 2

“Imagine you’ve been given a last-minute opportunity to perform or present your music at a major industry event. What would you showcase, and why does it represent who you are as an artist right now?”

Faculty may ask follow-up questions based on your portfolio and artistic interests.

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6. Optional Audition Guidelines by Specialization

A. DJ Applicants

Students auditioning as DJs may submit a 5–10 minute DJ set showcasing:

• Clean transitions
• Beatmatching
• Timing and flow
• Creative song selection
• Artistic interpretation

Recommended stylistic inspiration:

• David Guetta
• Calvin Harris
• Diplo

Sets may be submitted as audio or video.

B. Producer Applicants

Students auditioning as producers may submit 1–2 beats demonstrating sound design, arrangement, creativity, and commercial viability.

Applicants may choose to create in the style of well-known producers such as:

• Timbaland – syncopation, vocal chops, percussive innovation
• Dr. Dre – clean drum programming, melodic lines, West Coast influence
• RedOne – pop-EDM anthems, global crossover sound
• Skrillex – advanced sound design, energetic bass textures, EDM innovation

These references are simply guides. Applicants are encouraged to maintain their own artistic voice.

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7. Contact Information

• General questions about the CCM program: Kenrick Wagner

A successful portfolio submission to the USF composition program includes the following items. 

• Sample Notated Scores (with optional recordings). Undergraduate Applicants: 1-5 Score(s). Masters Applicants: 3-5 Scores
• List of works and performances
• Personal Statement describing your experience as a musician/composer
• Curriculum Vitae or Resume
• 2-3 Letters of Recommendation
• Interview with USF composition faculty (all undergraduate applicants, selected graduate applicants)

In addition to the above items, undergraduate applicants must take an instrumental audition. An undergraduate application to the composition program will only be fully considered after the applicant IS ACCEPTED into an instrumental studio. Graduate students are admitted based on their portfolios only - MM applicants do not have to take an instrumental audition. Due to the high volume and quality of MM applicants, only a select number of applicants will be invited for an interview with the composition faculty.

Questions should be sent to Paul Reller.

Students interested in Music Education must also submit a separate Music Education video. and participate in an in-person interview. 

A. Requirements for the Music Education video are below:

We are very interested in seeing your personality come through in this video! Please spend some time preparing the following and include ALL THREE in your music education video:

1. Sing and/or rap a verse or chorus from a favorite popular song. Make sure to practice your song before recording!

2. Tell a joke. Prepare ahead of time and tell it with gusto! Imagine you are a comedian on a stage!

3. Then briefly discuss ALL the following:

a. Tell us what instruments you play (or would like to play) outside of the traditional band/orchestra instruments in what musical styles you sing (or would like to sing) outside of the traditional choral repertoire.        

b. Tell us about any teaching opportunities of which you have taken advantage.

c. Pick one of the following and give us your best creative answer:

1. Pretend you’re a high school principal. What is a concern (other than money) that keeps you up at night?

2. What would you do if there was a zombie apocalypse?

B. Requirements for the in-person interview in two parts (10 minutes total):

1. Converse about your musical and career goals, and

2. Demonstrate your musical creativity by presenting a musical moment of your own, not using your primary instrument (e.g., self-made, electronic, non-band-or-orchestral instruments).

(NOTE: video requirements can be submitted either as separate videos or as one video - your choice)

Undergraduate and Graduate Bassoon Audition Requirements

Introduction Video:
Introduce yourself and briefly talk about your creative activities and journey as a musician.

Audition Video: 
Perform two contrasting pieces (or movements) that best showcase your technical and musical abilities in contrasting styles and tempos.

Examples of appropriate repertoire are listed below. Please note that you do not have to necessarily select these pieces; any other works of the bassoon repertoire are also acceptable.

Examples of appropriate repertoire that you may select from:

• Any of the 50 Concert Studies Op 26 by Ludwig Milde
• Any Bassoon Concerti by: Vivaldi, Mozart, Hummel, Kozeluh, Jolivet, C. M. von Weber, Villa-Lobos, etc.
• Any Sonata for Bassoon and Piano by: Fasch, Galliard, Telemann, Tansman, Saint-Saens, Sluka. Schreck, etc.

Optional Video: In addition to audition requirements listed above, we invite you to submit a video where you reveal another way you express yourself, and your personal music style, through any form of music engagement. While this in encouraged, it is optional and not required. 

Questions should be sent to Fernando Traba.

Bachelor of Music Performance and Music Education

• Outer movement from standard concerto repertoire (or equivalent)
• One movement from solo Bach Suite or solo Domenico Gabrielli Ricercar
• One etude or caprice
• Major and Minor Scales and Arpeggios

Bachelor of Arts

• 2 contrasting works from standard repertoire (examples may include, but are not limited to, a movement from a concerto and solo Bach Suite, as well as standard solo works)
• Representative 3 Octave scales and arpeggios

Master of Music Performance

• 2 contrasting movements from a standard concerto
• 2 contrasting movements of solo Bach Suite, or 2 contrasting from a pre-classical sonata
• Additional work of applicant’s choice written since 1940.

Master of Music in Chamber Music

In addition to MM requirements above, include 2 contrasting recordings of chamber music performances (video preferred, though not required) as well as a chamber music resume.

Questions should be sent to Professor Scott Kluksdahl.

Undergraduate Level Audition Requirements (B.M., B.S. and B.A. majors): 

• Two contrasting etudes from the Rose 32 Etudes for Clarinet.
• Solo selection of the applicant’s choice. This can be a complete work from the standard repertoire, or a single movement from a larger work. Please note that the works listed are merely suggestions. Any work of comparable quality and difficulty is acceptable.  There is no need to memorize the solo selection.
  
  • Appropriate selections include (but are not limited to): Weber “Concertino,” Hailstork” Three Smiles for Tracy,” Messager “Solo de Concours,” Tailleferre Sonata, Osborne Rhapsody, as well as the concerti by Weber, Mozart and Krommer.
  • Suggested solos for Bass Clarinet applicants include Bozza “Ballade,” Kibbe Sonata or any of the Bach Cello Suites.
• All Major Scales. Three octaves for E, F, F# and G; two octaves for all others.
• Sight-reading. To be provided at the audition.
   

Graduate Level Audition Requirements (M.M and PhD): 

• Statement of purpose: an approximate 500-word essay outlining objectives for graduate study and career plans
• CV or resume
• Audition Requirements:
  • • Mozart: Concerto in A Major, KV. 622, movement 1, exposition
    • Original work for clarinet written before 1950
    • Work written after 1950 
    • Orchestral Excerpts
      • • Beethoven Symphony #6, mvt. 1  (2 before K to m. 492)
        • Beethoven Symphony #6, mvt. 2 (D through end of m. 77)
        • Mendelssohn Scherzo from "A Midsummer Night's Dream" (beginning through B)
        • Brahms Symphony #3, mvt. 2 (beginning through B)

Questions should be sent to Calvin Falwell.

Graduate Only

Conducting auditions are required for admission and must be arranged by contacting the appropriate faculty coordinator directly:

• Wind Band: Matthew McCutchen
• Vocal: Allyssa Jones
• Orchestra: Matthew McCutchen

BM

• A movement from the standard solo literature, OR the 1st Movement from a standard bass concerto, including the published cadenza
• Two (2) standard orchestral excerpts.

MM

• A movement from the standard solo literature
• The 1st Movement from a standard bass concerto, including the published cadenza
• Three (3) standard orchestral excerpts.

DM

• A complete standard concerto.
• A complete sonata.
• Standard orchestral excerpts of contrasting styles

Questions should be sent to Gil Katz. 

Undergraduate Euphonium Auditions

Live Auditions

• Major Scales: At least two octaves and a full-range chromatic scale (articulated ascending and slurred descending).
• Solo Pieces: Two contrasting pieces that showcase your technical and musical abilities. Examples include (but are not limited to):
  • Curnow: Rhapsody for Euphonium
  • Barnes: Yorkshire Ballad
  • York: Euphonium Concerto “Creative States” (selections)
  • Lyrical and technical studies from Bordogni, Blazhevich, or Kopprasch etude books.
• Vocalization: Sing one major scale, unaccompanied, on a note of your choosing (ascending and descending).

Video Auditions

• Major Scales: Three chromatically consecutive two-octave major scales (e.g., F, Gb, G or Ab, A, Bb) and a full-range chromatic scale (articulated ascending and slurred descending).
• Solo Pieces: Two contrasting pieces that showcase your technical and musical abilities (see Live Auditions for examples).
• Vocalization: Sing one major scale, unaccompanied, on a note of your choosing (ascending and descending).
• Optional: Share a video of yourself engaging with music in a way that reflects your unique style and personality.

Graduate Euphonium Auditions

Live Auditions

• Solo Pieces: Two complete works from different styles and genres.
• Concerto: Exposition of the first movement of a major concerto for your instrument (e.g., Horovitz: Euphonium Concerto).
• Wind Band Excerpts: Three contrasting wind band excerpts of your choice.

Video Auditions

• All Requirements: Perform all the above requirements without editing between movements or excerpts.
• Accompanied Piece: One complete work must be performed with accompaniment.

Questions may be sent directly to Professor Alvarez.

Flute Audition:

Undergraduate Flute Audition Requirements

Live auditions:

• Major scales (at least two octaves) and full-range chromatic scale (articulated ascending, slurred descending)
• Two pieces that best showcase your technical and musical abilities in contrasting styles and tempos
• Sing one major scale (unaccompanied) beginning on the note of your choice (ascending and descending)
• Sight-reading (live auditions) may be asked

Video auditions: (NOTE: video requirements can be submitted either as separate videos or as one video - your choice)

• Three consecutive two-octave major scales (in order of the sharps/flats; example: D, A, E or F, Bb, Eb)
• Full range chromatic scale (articulated ascending, slurred descending)
• Two pieces that best showcase your technical and musical abilities in contrasting styles and tempos
• Sing one major scale (unaccompanied) beginning on the note of your choice (ascending and descending)
• Optional: you may also submit a video where you reveal another way you express yourself, and your personal music style, through any form of music engagement.

Graduate Flute Audition Requirements

Live auditions:

• Two complete works from different styles and genres
• Exposition of a Mozart concerto, first movement
• 3 contrasting orchestral excerpts of your choice

A brief but original artist statement describing how you personally connect to music and music-making.

Video auditions:

The above requirements, unedited between movements or excerpts. Additionally, one complete work must be performed with accompaniment.

Questions may be sent directly to Dr. Francesca Arnone.

BM Performance or BA (Guitar):

Guitarists in this track must audition on a nylon-string instrument.

Audition Requirements (5-8 minutes):

Prepare three contrasting solo works from the classical guitar canon that best demonstrate your technical and musical proficiency. Suggested composers include:

- Carcassi

- Sor

- Giuliani

- Bach

- Brouwer

- Aguado

- Tárrega

- Milan

- Villa-Lobos

Optional (BA applicants or entering freshman BM only):

If your primary experience is in a genre other than classical, you may substitute one classical selection with a free-choice piece or solo that best exemplifies your technical or musical skills. This could be performed on classical, acoustic, or electric guitar (amplifier available for live auditions). Selections may be unaccompanied or performed with a backing track.

If auditioning by video, please include an introduction covering:

1. How long you’ve been playing guitar.

2. Any previous training and experience (classes, private lessons, ensembles, etc.).
3. Your professional interests and career goals.
4. Any experience with genres beyond classical.
5. Any other relevant information about your musical background.

Graduate Auditions

Present a 10-15 minute program that includes:

- At least one movement from a Bach suite or partita.

- At least one substantial Classical or Romantic era concert work by Sor, Giuliani, Mertz, Legnani, etc. (e.g., sonata movements, theme and variations, fantasies).

- One or two movements or works chosen from the 20th or 21st century (e.g., Tedesco, Ponce, Barrios, Dyens, Rodrigo, Koshkin, Walton, Berkeley, Villa-Lobos).

Your program should reflect contrast in tempi and include at least one work that highlights slower, more lyrical playing.

Questions should be sent to Dr. Jonathan Godfrey.

Undergraduate and Graduate

• Major scales, at an even tempo, any speed or articulation, two octaves where possible.
• Chromatic scale, full range of the instrument, at an even tempo, any speed or articulation.
• A major solo work written for your instrument chosen to demonstrate the ability to play an expressive phrase musically and a technical passage handily. Separate movements, or even works, may be employed to accomplish this. Select music that will show you at your best, not simply the most difficult piece you know.
• Sight-reading may be asked

Questions should be sent to Professor Lyndsie Wilson.

All questions regarding jazz auditions should be directed to Professor Brantley at brantley@usf.edu.

Undergraduate and Graduate Oboe Audition Requirements

Perform two contrasting pieces that best showcase your technical and musical abilities in contrasting styles and tempos. Any Grade 5 or above (from the FBA Solo and Ensemble list at www.flmusiced.org) would be considered appropriate.

Appropriate examples include (but are not limited to):

Britten Six Metamorphoses After Ovid, op. 49, movement I – Pan

Handel g minor, movement I

Haydn C major Concerto, movement I with cadenza

Hindemith Oboe Sonata, movement I

Marcello c minor oboe concerto, movement I

Saint Saens Sonata op. 166, movement II

Ferling exercise page 2, #4

Ferling exercise, page 4, #7 

If you have any questions concerning your chosen pieces, please feel free to reach out to Professor Collins at acollins@oboe.net.

Undergraduate Audition Requirements

• Concert Snare Drum
  • An etude or solo by Delecluse, Cirone, Peters, or similar
  • Selection should demonstrate proficiency of rolls, ornaments, dynamics, and phrasing
• Rudimental Snare Drum
  • An etude or solo by Pratt, Wilcoxon, Tompkins, or similar
  • Selection should demonstrate proficiency of rudiments, dynamics, etc.
• Keyboard Percussion
  • 2-Mallet
    • A solo from Bach's Sonatas and Partitas, Cello Suites, a xylophone ragtime, or similar
  • 4-Mallet
    • A solo by Stout, Sammut, Abe, Muramatsu, or similar
    • Selection should demonstrate musicality as well as a variety of permutations and stroke types
• Timpani
  • An etude or solo for 4 timpani by Hochrainer, Beck, Vic Firth, Kirk Gay, or similar
  • Selection should demonstrate dynamic control, touch, articulations, rolls, etc.

If you have questions about USF's percussion program, audition repertoire, or if you would like to visit USF prior to your audition date, please contact Dr. Kevin von Kampen (kvonkampen@usf.edu)

Graduate Audition Requirements

• Prepare a solo or etude in each of the following areas
  • Concert Snare
  • Rudimental Snare
  • 2-Mallet Keyboard
  • 4-Mallet Keyboard
  • Timpani
• Prepare at least one standard orchestral excerpt for each of the following areas
  • Snare Drum
  • Xylophone
  • Glockenspiel
  • Timpani
  • Accessories (optional)
• Optional: Submit a YouTube link(s) demonstrating additional areas (multi percussion, drumset, world percussion, etc.)

If you have questions about USF's percussion program, audition repertoire, or if you would like to visit USF prior to your audition date, please contact Dr. Kevin von Kampen (kvonkampen@usf.edu)

Bachelor of Music in Performance

• Prepare three pieces, each from a different time period (baroque, classical, romantic, 20th century, 21st century). Works from before 1950 should be performed from memory. Sight-reading may also be requested at the audition.

Bachelor of Science in Music Education and Bachelor of Arts

• Prepare two contrasting works, each from a different time period. One of the two works should be performed from memory. Sight-reading will also be requested at the audition.

Graduate Applicants

• Three complete works from the standard concert/recital repertory, each from a different time period (baroque, classical, romantic, 20th century, 21st century). 
• Works from before 1950 should be performed from memory.

Questions should be sent to Professor Svetozar Ivanov.

Undergraduate Music Majors and Music Minors:

Major Scales/Arpeggios

• F, B-flat, B, D-flat, F-sharp; minimum of 2 octaves where possible
• *For performance majors only: Addition of minor scales and arpeggios - E-flat, F, D, B, A; minimum of 2 octaves where possible
• FBA All-State Style
• Minimum tempo of 120 bpm
• Scales are NOT listed as concert key

Chromatic scale

• 2 octaves from F
• Performance majors only: full range
• All eighth notes
• Minimum tempo of 120 bpm
• Tongued ascending, slurred descending

1 piece (or movement from a full-length work) from the standard repertoire for classical saxophone. The following repertoire is recommended, but similar works may be substituted:

1. Paul Creston “Sonata”
2. Paule Maurice “Tableaux de Provence”
3. Alexander Glazunov “Concerto”
4. Jeanine Rueff “Chanson et Passepied”

1 contrasting etude (Ex: Ferling, Hite, Voxman, or equivalent)

*Auditions may be performed on the instrument (alto, tenor, baritone) on which the student is most comfortable and which best exemplifies the student’s strengths.

Graduate (MM) Requirements:

• All 12 major scales: Full range
• All 12 minor scales (harmonic only): Full range
• 1-2 pieces/movements, or excepts from 1-2 full-length pieces of repertoire totalling a maximum of 15 minutes
• 1 contrasting etude (Ferling, Karg-Elert, Bozza, Koechlin, or similar)

All questions regarding auditions should be directed to Dr. Weintraub at kmweintraub@usf.edu.

Undergraduate and Graduate

• Major scales, slurred and musically, two octaves where possible.
• Chromatic scale, full range of the instrument, slurred and musically.
• A major solo work written for your instrument (no transcriptions) chosen to demonstrate the ability to play an expressive phrase musically and a technical passage handily. Separate movements, or even works, may be employed to accomplish this. Select music that will show you at your best, not simply the most difficult piece you know.
• Sight-reading will be asked

Questions should be sent to Professor Tom Brantley.

Undergraduate

• Major scales slurred, two octaves where possible.
• Chromatic scale full range of the instrument.
• Sight reading.
• Charlier Etude (pick one): #2, #3, #4, #6 or comparable etude.
  Solo: Pick a 1st movement of a major solo work for Bb or C trumpet. Perform without piano. This should demonstrate your musical abilities. Prepare 3-5 minutes of music, and we will indicate when to stop.

Graduate

• Charlier Etude (pick one): #8, #9, #10, #11, #12.
  Solo (required): Honegger Intrada, 1st page, C trumpet.
  Pick one from the following: 3-5 Orchestral excerpts, 1 jazz transcription (performed alone), 1 Contemporary work (solo), something else that shows what you are interested in. 

Questions should be sent to Dr. Derek Ganong.

Undergraduate Tuba Auditions

Live Auditions

• Major Scales: At least two octaves and a full-range chromatic scale (articulated ascending and slurred descending).
• Solo Pieces: Two contrasting pieces that showcase your technical and musical abilities. Examples include (but are not limited to):
  • Haddad: Suite for Tuba
  • Hersey: Convent Window
  • Vaughan Williams (Wagner): Six Studies in English Folksong (selections)
  • Lyrical and technical studies from Bordogni, Blazhevich, or Kopprasch etude books.
• Vocalization: Sing one major scale, unaccompanied, on a note of your choosing (ascending and descending).

Video Auditions

• Major Scales: Three chromatically consecutive two-octave major scales (e.g., F, Gb, G or Ab, A, Bb) and a full-range chromatic scale (articulated ascending and slurred descending).
• Solo Pieces: Two contrasting pieces that showcase your technical and musical abilities (see Live Auditions for examples).
• Vocalization: Sing one major scale, unaccompanied, on a note of your choosing (ascending and descending).
• Optional: Share a video of yourself engaging with music in a way that reflects your unique style and personality.

Graduate Tuba Auditions

Live Auditions

• Solo Pieces: Two complete works from different styles and genres.
• Concerto: Exposition of the first movement of a major concerto for your instrument (e.g., Vaughan Williams: Tuba Concerto).
• Orchestral/Wind Band Excerpts: Three contrasting orchestral and/or wind band excerpts of your choice.

Video Auditions

• All Requirements: Perform all the above requirements without editing between movements or excerpts.
• Accompanied Piece: One complete work must be performed with accompaniment.

Questions may be sent directly to Professor Alvarez.

Bachelor of Music Performance and Music Education

• One movement from standard concerto repertoire (or equivalent)
• At least one movement from solo Bach Cello Suite or from a Violin Sonata or Partita
• One etude of the candidate's choice

• Sight reading may also be required 

Bachelor of Arts

• 2 contrasting works from standard repertoire
• Representative 2 or 3 Octave scales and arpeggios

• Sight reading may also be required 

Master of Music Performance

• One concerto movement
• 2 contrasting movements of solo Bach
• Work of applicant’s choice (may include a sonata movement, a modern work, standard orchestral excerpts, etc.)

Master of Music in Chamber Music

• In addition to MM requirements above, include 2 contrasting recordings of chamber music performances (video preferred, though not required) as well as a chamber music resume.

Questions should be sent to Dr. Christina Adams.

Bachelor of Music Performance and Music Education

• One movement of a concerto (or equivalent) from the violin repertoire

• One movement from an unaccompanied baroque work (i.e., Bach or Telemann)

• One caprice or etude from any era

• Representative 3 Octave scales and arpeggios

• Sight reading may also be required

Bachelor of Arts

• 2 contrasting works from the violin repertoire (examples may include, but are not limited to, a movement from a concerto and an unaccompanied work from the baroque era

• Representative 3 Octave scales and arpeggios

• Sight reading may also be required

Master of Music Performance

• One movement of a concerto (or equivalent) from the violin repertoire 

• 2 contrasting movements of solo Bach
• Work of applicant’s choice from any era

Master of Music in Chamber Music

• In addition to MM requirements above, include performance recordings of 2 contrasting chamber music works (video preferred, though not required) as well as a chamber music resume.

Questions should be sent to Professor Carolyn Stuart.

"Joining our esteemed voice program offers a unique opportunity to achieve your musical aspirations, though it is competitive. Scholarships are available for those who demonstrate exceptional talent and potential during their audition. To help you succeed, we encourage you to work with an experienced voice teacher—preferably one with a proven track record of preparing students for college voice auditions. Whether your preparation takes weeks, months, or even years, this guidance will help you present your best self and maximize your chances of success at the audition."

UNDERGRADUATE APPLICANTS

Recommended and acceptable vocal repertoire for Undergraduate applicants:

- Art Songs

- Opera/Operetta/Oratorio Arias

- Musical Theater Songs, including selections from film musicals (excluding belting or commercial styles)

- Arranged Folk Songs (IE: Spirituals)

- Hymns (Melody)

- Patriotic Songs

Suggested resources for audition song selection:

- 24/26/28 Italian Art Songs and Arias

- The First/Second Book of SATB Solos

- Florida Vocal Association Vocal Solo List

VIDEO AUDITION:

- If you're auditioning by submitting videos, please ensure they are recorded with either a live pianist or pre-recorded piano accompaniment.

- Your audition videos do not need to be professional or studio recordings, but the sound and video quality should be as good as possible to capture and demonstrate your vocal tone, facial expressions, and body gestures.

UNDERGRADUATE AUDITION REPERTOIRE REQUIREMENTS:

Freshmen Applicants:

• Please prepare TWO solo songs of contrasting style or tempo.
• One selection must be in English.
• Second piece must be in a foreign language (Italian, Spanish, Latin, German, French, or any other language).
• Pieces must be performed from memory and with piano accompaniment (A cappella is not accepted).
• If you perform an on-campus live audition, a USF staff pianist will be available to accompany you at no charge (please bring your sheet music). Alternatively, you may choose to bring your own pianist.

Transfer Student Applicants:
If you have taken Applied Voice Lessons for college credit

Please prepare THREE solo songs of contrasting style or tempo

• One selection must be in English.
• Two selections must be in foreign language(s)
• Pieces must be performed from memory and with piano accompaniment (A cappella is not accepted)
• If you perform an on-campus live audition, a USF staff pianist will be available to accompany you at no charge (please bring your sheet music). Alternatively, you may choose to bring your own pianist.

** If you have not completed college-level Applied Voice Lessons for credit prior to your audition, you will be considered a freshman and should audition as such. Should you be accepted into our program as a transfer voice major, your placement in the applied voice year/level will be determined based on the strength and merits of your audition.

GRADUATE APPLICANTS

• Five Solo Vocal pieces from the Standard Classical Vocal Repertoire such as Art Song, Arranged Folk Songs, or Aria from Oratorio or Opera.
• One Aria: One of the five pieces must be an Aria from Opera or Oratorio.
• Other selections may be any combination of Art Songs, Arias, or Folk Songs.
• Language Requirements: Five pieces should cover at least four major languages.

- One in English

- One in Italian

- One in French

- One in German

- The 5th may be in any language.

Please direct any questions regarding vocal auditions to Dr. Kyoung Cho, Professor of Voice & Head of USF Voice Program