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Auditions

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.

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 Sign-up for an audition. A confirmation email listing the audition date, time, and other pertinent details will be sent once the application form is received and processed.

Undergrad Auditions

Graduate%20Auditions

 

Note:

  • To be admitted to the School of Music, applicants must meet the academic requirements of the University and the minimum standards in applied music through the audition.
  • Prospective Graduate Students: To schedule an audition, please contact Dr. Kimberley Davis, Graduate Coordinator.

Audition Dates

Undergraduate  Area
September 23-24, 2019 Choral/Vocal auditions (SICC)
October 19, 2019 2019 Lions All-State Band Audition Workshop | Register
October 28, 2019 Choral/Vocal & Instrumental auditions
November 11, 2019 Choral/Vocal & Instrumental auditions
January 25, 2020 Dixie Darlings clinics
February 14, 2020 Instrumental auditions (All South)
February 23, 2020 Dixie Darlings clinics
February 28, 2020 Choral/Vocal & Instrumental auditions
March 28, 2020 Dixie Darling auditions
April 3, 2020 Choral/Vocal & Instrumental auditions
April 25, 2020 Dixie Darling auditions

 

Graduate 
November 1, 2019
January 24, 2020
March 6, 2020


Explore Audition Requirements By Program
 

Solo Instruments and Vocalists

Find a complete listing of requirements per studio area below. Accompaniment for woodwinds, strings and percussion is not provided, nor required. Accompanist is provided for vocal auditions. 

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.

 

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. Bass line 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. Bass line 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. Bass Line 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 w 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

 

Contact Us

School of Music

115 Mannoni Performing Arts Center

Campus Hattiesburg

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Email
Laurie.RinkoFREEMississippi

Phone
601.266.5543