The goal of the audition is to enable you to best demonstrate your musical achievement. Select pieces from the repertoire below that you feel confident with and that display your strengths and interests. We encourage you to consult with your music teacher or private lesson teacher when choosing and preparing your repertoire. We also invite you to contact Professor William Trigg, at email@example.com, Artist-Teacher of Percussion, for guidance in selecting repertoire and to inquire about scheduling a free sample lesson prior to your audition.
Candidates must be prepared to audition on all percussion instruments and must bring all appropriate sticks and mallets. All instruments will be provided. The candidate may be asked to play a piece at sight on any of the three instruments listed below.
Repertoire selections are merely suggestions to indicate the level of difficulty required.
Since the snare and/or trap drummer may not have the opportunity to familiarize themselves with pitched instruments to perfect their craft, it would be advisable to pursue the study of ear training-sight singing before entering an institution of higher learning.
The 26 rudiments of the Snare Drum; Orchestral and rudimental rolls at various dynamics
Anthony Cirone, “Portraits in Rhythm”
Jacques Delecluse, “Douze Etudes pour Caisse Claire”
Charles Wilcoxon, “Modern Rudimental Swing Solos”
Or any of the following composers:
Albright, Pratt, Hochrainer, Wanamaker, et al.
Two contrasting solos or etudes from the above list or comparable repertoire. An acceptable alternative is any one of the All-State/Region audition solos.
Tuning to various intervals; Rolls at various dynamics
Saul Goodman, “Modern Method for Timpani”
Firth, “The Solo Timpanist,”
Carroll, “Exercises, Etudes & Solos for the Timpani”
Hochrainer, “Übungen für Timpani”, et al.
A selected solo or two contrasting etudes from the above list or comparable repertoire. An acceptable alternative is any one of the All-State/Region audition solos.
All major and harmonic minor scales and arpeggios, 2 octaves up and down, candidate’s choice of instrument and of rhythm (i.e. – straight 8th notes or the all-state rhythm of “1 +a 2e+a 1 +a 2e+a”)
Clair Omar Musser, Etudes
Paul Smadbeck,“Rhythm Song”
Morris Goldenberg, “Modern School for Marimba, Xylophone, Vibes”,
Or any of the following composers: Stout, Burritt, Abe, Sammut, et al.
Transcriptions of solos for other instruments are also acceptable by composers such as Handel, Vivaldi or Telemann. Also, the sonatas and partitas or suites of J.S. Bach for solo violin or cello.
A selected solo or two contrasting etudes from the above list or comparable repertoire. An acceptable alternative is any one of the All-State/Region audition solos. Four-mallet technique should be demonstrated, if possible.
If you have any questions about these requirements, need assistance selecting appropriate repertoire, or would like to explore modified/alternate requirements, please contact Prof. William Trigg, at firstname.lastname@example.org