Auditions | School of Music | The University of Southern Mississippi

Auditions

The Steps to Pursuing Your Music Career

All prospective music majors must apply to the University and audition regardless
of their choice of degree plan. Service Awards in the School of Music are available
to music majors and non-majors.

Step 1

Apply to the University. All students are asked to first submit an application to the Office of Admissions
before scheduling an audition.

APPLY

Step 2

Complete your Audition Form. Please click the link below to begin.

REGISTER FOR YOUR Audition now         

Upcoming Audition Dates 

• October 24, 2022
• November 14, 2022
• January 30, 2023
• February 27, 2023
• March 20, 2023

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Explore Current Audition Requirements 

AUDITION Requirements 

Ensembles

Auditions for wind players are scheduled Monday through Friday (excluding holidays).
Auditions include all major scales, the chromatic scale, a prepared solo or etude,
and sight-reading. You will be informed of your audition results by letter in the
middle to late spring.  Drum Line, Color Guard, and Feature Twirler audition requirements
will be communicated once you have signed up for your audition. All music majors and
minors must contact the professor of the applicable instrument to schedule service
award auditions.

See all requirements

Prospective vocal music majors should have two fine art pieces prepared.  Non-majors
wishing to participate in the program should have one piece prepared.  A pianist will
be provided.

• Schedule an audition by filling out the form.
• If none of the scheduled dates will accommodate your schedule, you can contact the
  Choral Activities Office at 601.266.4892 or email the Director of Choral Activities
  at Gregory.FullerFREEMississippi.
• Music majors must prepare two pieces to sing for the choral/vocal faculty. One of
  those selections must be of the fine arts/classical style. The other piece may be
  in the style of your choosing.
• Non-majors wishing to participate in Choral Activities must sing one piece. It is
  preferred that this piece be of the fine arts/classical style.
• Auditions will also include simple vocal exercises and sight-reading.
  Under extenuating circumstances, auditions via electronic submission may be accepted
  for those who are unable to travel to campus. A follow-up letter will be mailed to
  confirm results of each audition.

• Scholarships are available to students (singers and pianists) in the form of SERVICE
  AWARDS. Music majors, non-music majors, undergraduates, and graduate students are
  eligible to receive these stipends.
• Participation in a large ensemble (Southern Chorale, Concert Choir, Women’s Chorus,
  or Southern Miss Men , all including the Hattiesburg Choral Union) is a primary requirement
  of these scholarships.
• Multiple audition days are held each year to determine awards for the following fall.
  Awards are given for each calendar year and are renewable if requirements are met.
• Service Awards are granted on the basis of the student’s musical ability and potential,
  teacher recommendation, desire and attitude, and the needs of the student. Awards
  generally range from $400 to $2,000 annually, good for up to five years, with the
  higher awards offered to truly exceptional students majoring in music. Awards are
  made to students of all majors.
• The University of Southern Mississippi provides additional financial assistance to
  academically talented students. Students with special financial needs should call
  The University’s Financial Aid Office at 601.266.4774 or by visiting choose.usm.edu.

 String Scholarships and Auditions

The audition specifications are for prospective jazz studies majors, but may also
be used by non-majors who have an interest in being involved in the jazz program and
wish audition in the hope of receiving a jazz participation scholarship. All students
including non-majors who wish to be involved in the jazz program will audition at
the beginning of the fall semester for placement in combos and big bands along with
majors. The list below is intended to help us get an idea of each student’s capability
in the jazz idiom. Not everyone will be able to do everything on the list, but it
is important to attempt and prepare for all the aspects of the audition to give us
an accurate picture of each student’s potential for success as a major. 

1. Prepared jazz selection of standard jazz repertoire from the list of suggested
   tunes. Performance should include your interpretation of the melody and an
   improvised solo. Suggested tunes may include blues pieces.
2. Open choice selection by the prospective student that demonstrates where their musical
   abilities are strongest. This selection may be fully notated and does not have to
   be a jazz piece, but something that reflects jazz influence is strongly recommended.
   A feature part from your jazz band music or a jazz etude such as found in the Jazz
   Conception by Jim Snidero are also good choices.
3. Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
4.  Easy level sight-reading.

Suggested Repertoire:

• Satin Doll (Ellington)
• Autumn Leaves
• Billie’s Bounce (Parker)
• I’ve Got Rhythm (Gershwin)
• Cotton Tail (Ellington)
• Summertime (Gershwin)
• Four (Miles Davis)
• Blue Bossa (Kenny Dorham)
• Straight, No Chaser (Thelonious Monk)
• Work Song (Nat Adderly)

Most of these can be found in play along form with a book and CD from Jamey
Aebersold on the website: jazzbooks.com. You may perform with a play-along pre-recorded accompaniment or your auditioner
can provide accompaniment.

1. Bassline realization of a standard jazz tune using a lead sheet (melody and chord
   symbols) in swing style walking quarter note, bossa nova style, samba or other Latin
   style is optional.-(prepared)
2. Bassline realization in varied styles of a standard jazz tune provided by the auditioner
   at the time of the audition from list of suggested tunes.
3. Bassline realization on a jazz style blues progression.
4. Encouraged but not required: perform a piece of jazz band music of your choosing,
   or solo transcription, jazz etude (e.g. Snidero Jazz Conception) or original composition
   that best demonstrates your abilities. Improvise on any of the above of #’s 1,2,3.

1. Chord voicing realization of a standard jazz tune -(prepared),
2. Chord voicing realization of a standard jazz tune provided by the auditioner at the
   time of the audition from list of suggested tunes.
3. Prepared jazz selection of standard jazz repertoire from the list of suggested tunes.
   Performance should include your interpretation of the melody and an improvised solo.
   Suggested tunes may include blues pieces. This selection may be the same piece used
   in #1.
4. Piano – varied voicings (minimum 3 notes) on unaltered dominant chords. These voicings
   may include some extensions and do not need to include the root of the chord. You
   may be asked to demonstrate these in both the left hand and right hand.
5. Guitar – varied voicings (minimum 3 notes) on unaltered dominant chords. These voicings
   may include some extensions and do not need to include the root of the chord.
6. Open choice selection by the prospective student that demonstrates where their musical
   abilities are strongest. This selection may be fully notated and does not have to
   be a jazz piece, but something that reflects jazz influence is strongly recommended.
   A feature part from your jazz band music or a jazz etude such as found in the Jazz
   Conception by Jim Snidero are also good choices.
7. Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
8. Easy level sight–reading of both notes and chord symbols.

Suggested Repertoire:

• Satin Doll (Ellington)
• Autumn Leaves
• Billie’s Bounce (Parker)
• I’ve Got Rhythm (Gershwin)
• Cotton Tail (Ellington)
• Summertime (Gershwin)
• Four (Miles Davis)
• Blue Bossa (Kenny Dorham)
• Straight, No Chaser (Thelonious Monk)
• Work Song (Nat Adderly)

Most of these can be found in play along form with a book and CD from Jamey 
Aebersold on the website: jazzbooks.com. You may perform with a play-along pre-recorded accompaniment or your auditioner
can provide accompaniment.

1. Chord voicing realization of a standard jazz tune -(prepared),
2. Chord voicing realization of a standard jazz tune provided by the auditioner at the
   time of the audition from list of suggested tunes.
3.  Prepared jazz selection of standard jazz repertoire from the list of suggested tunes.
   Performance should include your interpretation of the melody and an improvised solo.
   Suggested tunes may include blues pieces. This selection may be the same piece used
   in #1.
4. Open choice selection by the prospective student that demonstrates where their musical
   abilities are strongest. This selection may be fully notated and does not have to
   be a jazz piece, but something that reflects jazz influence is strongly recommended.
   A feature part from your jazz band music or a jazz etude such as found in the Jazz
   Conception by Jim Snidero are also good choices.
5. Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
6. Easy level sight –reading of both notes and chord symbols

Suggested Repertoire:

• Satin Doll (Ellington)
• Autumn Leaves
• Billie’s Bounce (Parker)
• I’ve Got Rhythm (Gershwin)
• Cotton Tail (Ellington)
• Summertime (Gershwin)
• Four (Miles Davis)
• Blue Bossa (Kenny Dorham)
• Straight, No Chaser (Thelonious Monk)
• Work Song (Nat Adderly)

Most of these can be found in play along form with a book and CD from Jamey
Aebersold on the website: jazzbooks.com . You may perform with a play-along pre-recorded accompaniment or your auditioner
can provide accompaniment.

1. Demonstration of the beat patterns for the following styles – 8 bar phrases with fills
   at the end of each phrase: Medium tempo swing, up-tempo swing (up to 180 bpm), Bossa
   Nova, Samba or Mambo, Shuffle Funk/Hip Hop, Ballad with brushes (optional.)
2. Open choice selection by the prospective student that demonstrates where their musical
   abilities are strongest. This selection may be fully notated and does not have to
   be a jazz piece, but something that reflects jazz influence is strongly recommended.
   A feature part from your jazz band music or a jazz drum solo etude are also good choices.
3. Easy level sight-reading of a big band drum part.

Requirements

 Information for Prospective Students

TransferGraduate