School of Music > Academics > Ensembles > Fall Ensemble Auditions

Fall Ensemble Auditions

All DePaul students interested in participating in a School of Music ensemble in the 2019 academic year must audition. Non-music majors must email Harry Silverstein to schedule an audition.​

A Campus Connect login is required register for an audition.

Auditions must be scheduled by Friday, September 6 at 5 p.m. Access to audition requirements and materials will be cut off at this time. Please be sure to download everything you need before the deadline. Auditions will take place from September 9 to September 11, depending on your instrument.

These audition requirements are for ensemble auditions only.

Flute and Piccolo

Flute and piccolo auditions will consist of all of the listed excerpts. Preparing the piccolo excerpt is strongly encouraged.

  • P. Hindemith – Symphonic Metamorphosis
  • M. Ravel – Bolero
  • N. Rimsky-Korsakov – Russian Easter Overture
  • Dvorak – Symphony No. 9
Piccolo: optional
  • G. Rossini – Overture to Semiramide


Oboe auditions will consist of all of the listed excerpts.



Please prepare each excerpt as written.


Please prepare the following as marked:


Horn auditions will consist of the below pieces.

  • Bruch - Scottish Fantasy
  • Stravinski - Rite of Spring
  • Ravel - Daphnis + Chloe


Trumpet auditions will consist of all of the listed excerpts.

  • Stravinsky - Petroushka
  • Beethoven - Leonore Overture #3
  • Respighi - Pines of Rome
  • Brahms - Symphony no. 2
  • Mahler - Symphony no. 5


Students that want to be considered for tenor trombone positions should prepare the three tenor trombone excerpts.

Tenor Trombone

Bass Trombone


Click below to download the Tuba excerpts:


Percussion Auditions will consist of all excerpts (see exemption for timpani below). PDF excerpts are not available for percussion excerpts. It is the students' responsibility to locate excerpts for percussion auditions.

Snare Drum

Found in Raynor Carroll Orch. Rep./Snare Drum
  • Prokofiev, Lt. Kije--Movement 1 (1 to 3)
  • Rimsky Korsakov, Capriccio Espagnol--Movement 3-Alborada (beginning to K)


Found in Goldenberg's Modern School for Xylophone, Marimba & Vibraphone
  • Gershwin, Porgy and Bess (1st 18 measures)
  • Khachaturian,Gayne Ballet, Dance of the Rose Maidens (1 to 3)


Found in Raynor Carroll Orch. Rep./Book 2 Glock
  • Dukas, Sorcerer's Apprentice (17 to 4 after 19)
  • Glazounov, Violin Concerto (51 to 53)


Found in Goldenberg's Modern School for Snare Drum.
  • Dvorak - Carnival Overture - Beginning to letter C


Timpani excerpts can be found in Modern Method for Tympani by Saul Goodman. All students are required to play the etude # 71. Those wanting to be considered for a timpani position are required to additionally play the following excerpts.
  • Beethoven 5th Symphony - 4th movement, Allegro (bar 374-395)
  • Beethoven 9th Symphony - end of 4th movement - Poco Allegro, stringendo to end


Prepare sections where indicated in excerpts linked here:
  • Stravinski - Rite of Spring Part II, bars 281 - 313
  • Beethoven - Symphony No. 3 Scherzo, bars 1 - 69
  • Strauss - Don Juan bars 1 - 36 only


Prepare sections where indicated in excerpts linked here:
  • Beethoven - Symphony 5 - 2nd movement bars 1-10; bars 98-106
  • Mendelssohn - Midsummer Night's Dream - Scherzo, letter A - D


Prepare sections where indicated in excerpts linked here:
  • Stravinsky - Rite of Spring, reh. 104 - reh. 111
  • Schubert - Unfinished, bars 258 - 267; bars 248-252


One minute of a solo work (concerto, sonata or solo Bach etc.) and the bracketed excerpts from the Beethoven pdf.


Audition Procedure

Non-Music Major Audition Sign Up

Each audition will begin with an assessment of sight-singing skill, typically from an 8-measure exercise in major (freshman-sophomore) or minor (junior-graduate). Next, pitch memory may be tested as the student remembers and sings a succession of three pitches played for them on the piano. Dr. Esparza will lead students through some scales to assess vocal range. Finally, singers will perform the designated excerpt that must be prepared ahead of time. The audition excerpt and a Sight-Singing Assessment Guide is provided online to help you prepare for your audition. 

The excerpt is from Bernstein’s Chichester Psalms (Movement 1). Singers learn the part they typically sing (S1, S2, A1, A2, etc). Learn the music from measure 40 to measure 58 (please note each measure has 7 beats so do not let the dotted bar lines halfway through each measure confuse you) at a tempo of quarter note = 200bpm. 


All auditioning students may be asked to provide all or some combination of the following:


Note: All lead sheets/charts and play-along recordings/accompaniment for the following selections will be provided at the audition unless otherwise noted. You do not have to memorize the above selections, but you should not be sight-reading them.


  • Melody statement and solo improvisation to be selected by the panel from the following compositions (a reference play-along is provided in parenthesis): 

  1. “Triste” – Antonio Carlos Jobim (Aebersold 95 and 98)
  2. “Everything I Love” – Cole Porter (Aebersold 112) 
  3. “Confirmation” – Charlie Parker (Aebersold 6)
  4. “I Remember You” – Victor Schertzinger/Johnny Mercer (Aebearsold 22)
  5. “Room 608” – Horace Silver (Aebersold 18)
  6. “Body and Soul” (V) – Johnny Green/Edward Heyman, Robert Sour, and Frank Eyton (Aebersold 41)
  7. “Yardbird Suite” (V) – Charlie Parker (Aebersold 6)
  8. “Chi Chi” (V) – Charlie Parker (Aebersold 94)


For all vocalists, rhythm section performers, and horns:

  • A sight-reading selection/etude to evaluate counting ability, comfortable range, and conceptual interpretation of common practices in the idiom.
  • Scales, arpeggios and other fundamental techniques.

For rhythm section performers:

  • Comping, walking, and performing in varied styles meters, contemporary grooves (Latin, funk, etc.), and tempi.

For jazz vocalists:

  • For vocalists only: learn and improvise (scat) on “Chi Chi” or another blues of your choosing. All other instrumentalists mustlearn “Chi Chi”.
  • See additional information below for specific audition information pertaining to jazz vocalists.

In addition, all brass, woodwind, and rhythm section musicians must prepare the following excerpts from Thad Jones’ “The Little Pixie”, as found on the recording Thad Jones & Mel Lewis – Live at the Village Vanguard: (excerpts can be found here)


  • Trumpets, trombones, and saxophones – Letter C to Letter O and the shout section, beginning at Letter P to the end.
  • Rhythm section – Letter C to E, shout section, beginning at Letter P to the end.

Please select the part that you are auditioning for (i.e. Alto 1, Trombone 3, etc.), noting that you may also be asked to play a different part in your audition, in addition to the one you have prepared.


For those vocalists interested in singing in a jazz combo or serving as a featured vocalist in an instrumental large jazz ensemble:


Please prepare the selections above marked with a (V) and be prepared to sight-read and also scat on “Yardbird Suite” and a blues (could be “Chi Chi”)


For those vocalists interested in singing in the Vocal Jazz Ensemble:


Please prepare the following:


  • One jazz standard from the Great American Songbook
  • Be prepared to improvise/scat on a 12-bar Blues in your key of choice.