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Questions? Contact Us.

Dr. Andy DeBoer

  • Department Head, 91ľ÷˝Ě Music and Theatre Dept.
  • 479-788-7547
  • Mon-Fri.: 9 a.m. - 5 p.m.
  • Breedlove Building, Room 202

Music Auditions

Every prospective music major at the 91ľ÷˝Ě – Fort Smith must audition for the Department of Music and Theatre faculty before enrolling. Your audition also puts you in the running for a music scholarship.

Music Audition Dates

  • December 4, 2026
  • January 22, 2027
  • February 12, 2027
  • April 2, 2027
  • May 7, 2027

Can't attend in person? You may submit a video recording of your audition instead. Note your preference for a video audition on your registration form and email the Music Office at MusicFREEuafs. A team member will follow up with details. Should you have questions, please call our office at 479-788-7530.

Music Scholarships

Every year, 91ľ÷˝Ě invests in student musicians through talent-based scholarships, and you don't have to be a musician to earn one. Just audition, and you're automatically considered. 

Audition Requirements

Every instrument has its own audition requirements. Select your instrument from the list below to see exactly what to prepare. In addition to playing, your audition will include a short, informal interview with faculty. It’s a chance for them to get to know you and learn why you want to pursue music at the collegiate level. They’ll also check your basic aural and sight-reading skills.

Flute

  • Etude: Two contrasting etudes from “Selected Studies for Flute” by H. Voxman, or a comparable piece from the solo flute repertoire that displays both technical and lyrical playing.

  • Scales: Major and minor, two octaves

  • Sight-reading: Required

Oboe

  • Etude: Two contrasting etudes from “Selected Studies for Oboe” by H. Voxman

  • Scales: Major and minor, one octave. Two where permitted.

  • Sight-reading: Required

Clarinet

  • Etude: Two contrasting etudes or works from “Artistic Studies, Book 1” edited by D. Hite, “Select Studies for Clarinet” by H. Voxman, or from standard clarinet repertoire. One primarily lyrical and slow. The second primarily technical and fast.

  • Scales: Major and minor, two octaves minimum

  • Sight-reading: Required

Saxophone

  • Etude: Two contrasting etudes or works. “Melodious and Progressive Studies” edited by David Hite, “48 Studies” by W. Ferling, “Select Studies for Saxophone” by H. Voxman, or from the standard saxophone repertoire. One primarily lyrical and slow. The second primarily technical and fast.

  • Scales: Major and minor

  • Sight-reading: Required

Bassoon

  • Etude: Two contrasting etudes from “Practical Method for Bassoon” by J. Weissenborn or comparable etudes or works.

  • Scales: Major and minor

  • Sight-reading: Required

French Horn

  • Etude: One selection from “Preparatory Melodies to Solo Work for French Horn” edited by M.P. Pottag, and one selection from “Second Book of Practical Studies for French Horn by R.W. Getchell. (A solo or etude of similar level may be played in place of one of these selections.)

  • Scales: Major and minor, one octave. Two octaves where permitted.

  • Sight-reading: Required

Trumpet

  • Etude: One selection from “11 Studies for Trumpet” by R. Voisin, and one selection from “Second Book of Practical Studies for Cornet and Trumpet” by R.W. Getchell, edited by N.W. Hovey. (A solo or etude of similar level may be played in place of one of these selections.)

  • Scales: Major and minor, one octave. Two octaves where permitted.

  • Sight-reading: Required

Tenor Trombone

  • Etude: One selection from “40 Progressive Studies for Trombone” by H.W. Tyrell, and one selection from “Melodious Etudes for Trombone, Book 1” by J. Rochut.

  • Scales: Major and minor, one octave. Two octaves where permitted.

  • Sight-reading: Required

Brass Trombone

  • Etude: One selection from “20 Etudes for Brass Trombone with ‘F’ Attachment” by L. Willis, and one selection from “Melodious Etudes for Trombone, Book 1” by J. Rochut.

  • Scales: Major and minor, one octave. Two octaves where permitted.

  • Sight-reading: Required

Euphonium

  • Etude: One selection from “40 Progressive Studies for Trombone” by H.W. Tyrell, and one selection from “Melodious Etudes for Trombone, Book 1” by J. Rochut.

  • Scales: Major and minor, one octave. Two octaves where permitted.

  • Sight-reading: Required

Tuba

  • Etude: One selection from “Second Book of Practical Studies for Tuba” by R. W. Getchell, edited by N.W. Hovey, and one selection from “24 Artistic Studies for Tuba” selected and edited by F. Woodruff.

  • Scales: Major and minor, one octave. Two octaves where permitted.

  • Sight-reading: Required

Prepare etudes for snare drum, keyboard (marimba or xylophone), and timpani. Sight-reading is required for both snare drum and keyboard. A drumset demonstration is encouraged but not required.

Snare

  • Etudes: Two contrasting etudes. One concert style and one in rudimental style.

  • Rudiments: Demonstrate basic rudiments – rolls, flams, flam-taps, flam-accents, paradiddles, flam-paradiddles, drags/ruffs, single ratamacue, and others.

  • Sight-reading: Required

Concert style etudes may be chosen from:

  • “Intermediate or Advanced Snare Drum Etudes” by M. Peters
  • “Portraits in Rhythm” by A.J. Cirone
  • “Douze Etudes” by J. DelĂŠcluse

Rudimental style etudes may be chosen from:

  • “All American Drummer” by C. Wilcoxin
  • “14 Modern Contest Solos” by J. Pratt

Keyboard (marimba or xylophone)

  • Etude: One 2-mallet selection is required though one 4-mallet is preferred.

  • Scales: Major and minor, two octaves

  • Sight-reading: Required

2-mallet etudes may be chosen from:

  • “Modern School for Xylophone, Marimba, Vibraphone” by M. Goldenberg
  • Violin Partitas and Sonatas or Cello Suites by J.S. Bach
  • “Rhythmical Articulation” by P. Bona


4-mallet etudes may be chosen from:

  • “Marimba: Technique Through Music” by M. Ford
  • “Impressions on Wood” by J. Davila
  • “Yellow After the Rain” by M. Peters
  • “Snowfall” by B. Tyson
  • “Lost Mountain Sunrise” by B. Tyson

Timpani

  • Etude: One selection from “Musical Studies for Intermediate Timpanist” by G. Whaley or “Pedal to the Kettle” by K. Gay

  • Tuning: Tune the timpani to your selected etude. (Bring your own pitch pipe or tuning fork.)

Drumset (optional)

  • Styles: Demonstrate a variety of styles such as rock, funk, swing, jazz waltz, bossa nova, and samba

  • Play-along: Play along with tracks from “Groove Essentials” by T. Igoe

Classical Guitar

  • Instrument: Faculty expect to hear your audition performed on a classical guitar.

  • Technique: Demonstrate proficiency in classical guitar technique, including posture and right- and left-hand positions.

  • Scales: C, G, D, A, and E major; A, D, and E melodic minor. Two octaves, using Segovia or Sagreras forms

  • Sight-reading: Single-note lines, simple counterpoint, or chord study

  • Repertoire: Prepare one solo piece, chosen from:
    • Sor Etude No. 2 or No. 5 from “20 Etudes” (preferably the Segovia edition)
    • Matteo Carcassi’s “Suite in C” from “Method for Guitar”
    • Any prelude by J.S. Bach

Jazz Guitar

  • Repertoire: Play one jazz standard and one blues standard.

    • Jazz standard: A selection from “Maiden Voyage” (Vol. 54) by J. Aebersold is a good option.

    • Blues tune: Choose “Blue Monk” by T. Monk, “Cool Blues” by C. Parker, or “Billie’s Bounce” by C. Parker.

  • Performance: You’ll play each selection three times, chords first, then the head, then a solo.  Provide a pre-recorded track or bring a chart so a faculty member can accompany you.

Jazz Bass (electric or upright)

  • Repertoire: Play one jazz etude and one blues tune.
    • Jazz Etude: Prepare a selection from “Jazz Conception Bass” by J. Snidero.

    • Blues Tune: Choose “Blue Monk” by T. Monk, “Cool Blues” by C. Parker, or “Billie’s Bounce” by C. Parker.

  • Performance: You’ll play your blues tune three times, accompaniment (walk) first, then the head, then a solo. Provide a pre-recorded track or bring a chart so a faculty member can accompany you.

  • Repertoire: Prepare one solo song, memorized, in English, German, French, or Italian. This should be a solo song; choral pieces aren’t accepted.

  • Accompaniment: An accompanist is provided if you need one.

Not sure where to start? Your choir director can help you choose a solo song that’s right for your voice.

Violin

  • Etude: One selection from “Sixty Studies for the Violin,” Op. 45, Book 1, by Wohlfahrt (Schirmer edition), and one selection from “Etudes SpĂŠciales for the Violin”, Op. 36, by Mazas (Schirmer edition). A contrasting movement from an unaccompanied Bach work may be played in place of either selection.

  • Scales: Major and minor, two octaves, quarter note = 100 bpm

  • Sight-reading: Required

Viola

  • Etude: One selection from “Sixty Studies for the Viola,” Op. 45, Book 1, by Wohlfahrt (Schirmer edition), and one selection from “Etudes SpĂŠciales for the Viola,” Op. 36, by Mazas (Schirmer edition). A contrasting movement from an unaccompanied Bach Suite may be played in place of either selection.

  • Scales: Major and minor, two octaves, quarter note = 100 bpm

  • Sight-reading: Required

Cello

  • Etude: One selection from “170 Foundation Studies for Cello,” Book 1 by Schroeder (Carl Fischer edition), and one selection from “Melodic Etudes,” Op. 31, by Lee (International edition). A contrasting movement from an unaccompanied Bach Suite may be played in place of either selection.

  • Scales: Major and minor, two octaves, quarter note = 100 bpm

  • Sight-reading: Required

Bass

  • Etude: One selection from “30 Etudes” by Simandl (Carl Fischer edition), and one selection from “New Method for Double Bass,” Vol. 1, by Simandl (Carl Fischer edition). A contrasting, unaccompanied work of similar level may be played in place of either Simandl selection.

  • Scales: Major and minor, two octaves, quarter note = 100 bpm

  • Sight-reading: Required