To qualify for acceptance as a music major, you must be admitted to Rhode Island College (follow the general admission procedure described on the Office of Admissions website) and successfully complete an audition. You DO NOT need to be admitted to audition, but we recommend that you have your admissions application at least completed by your audition date. 

A list of frequently asked audition questions can be found HERE

A list of suggested audition repertoire appears below.

Schedule Your Audition

Schedule your audition by completing the form below. Audition times will be arranged individually via email once your dates are selected and the form is submitted. Please contact Todd Borgerding with any questions.

Suggested Audition Repertoire

The suggested repertoire listed below is intended to help guide you in selecting appropriate literature for your audition at Rhode Island College. In addition to the prepared pieces, students will perform a short sight reading exercise.

  1. One song in Italian from the Schirmer Twenty-Four Italian Songs and Arias or a similar source.
  2. One British or American art song or folk song, such as those arranged by Britten, Copland, or Quilter. Broadway songs are NOT acceptable.
  1. One of Bach’s 2- or 3-Part Inventions or a Prelude and Fugue from the Well-Tempered Clavier.
  2. A movement from a sonata by Beethoven, Haydn or Mozart.
  3. Your choice of one of the following: a technical etude, a large Romantic work, or a contemporary work.
  1. An etude by Sor, Carcassi, Giuliani, or Carulli.
  2. An etude by Leo Brouwer, or a solo piece by Tarrega.
  1. An etude by Kreutzer or Dont (or comparable).
  2. One or two contrasting movements from the standard repertoire (sonata or concerto by Handel, Mozart, or comparable).
  1. An etude by Mazas or Kreutzer (or comparable).
  2. One or two contrasting movements from the standard repertoire (sonata or concerto by Telemann, Vivaldi, Hoffmeister, or comparable).
  1. One movement of a standard concerto or sonata, of moderate difficulty (i.e. concerti by J.C. Bach, Breval, Goltermann, Saint-saens, Baroque sonatas by Vivaldi, Marcello, Corelli, Brahms Sonata in E Minor)
  2. A solo piece or etude in contrasting style and tempo to the chosen concerto (i.e. Faure Elegy, Bruch Kol Nidre, Klengel Concertino, Tchaikovsky Nocturne)
  1. One of the 30 Simandl etudes or Patitucci Etudes.
  2. Two contrasting movements from a solo such as Eccles’ Sonata.

Two contrasting movements from any of the following:

  1. Mozart concerti, Bach or Handel sonatas.
  2. A French Conservatory piece such as the Faure Fantasie, Chaminade Concertino, Enesco Cantabile et Presto, etc. (found in the Flute Music by French Composers, edited by Moyse).
  3. A movement from a 20th century sonata such as Poulenc, Hindemith, or Muczynski.
  1. An etude selected from either a) Barret Oboe Method, b) Barret’s 40 Progressive Melodies for Oboe, c) Barret’s 16 Grand Studies for Oboe, or Ferling’s 48 Studies for Oboe.
  2. Two contrasting movements from the standard solo literature (e.g., Handel, Telemann, Vivaldi, Mozart, Haydn, Strauss, Poulenc, etc.
  1. An etude selected from Weissenborn’s 50 Advanced Studies.
  2. Two contrasting movements selected from among Telemann’s Sonata in F minor, Mozart’s Concerto in B-flat, or von Weber’s Concerto.
  1. An etude selected from Rose’s 40 Studies, Rose’s 32 Studies, or Klose’s 20 Studies.
  2. Two contrasting movements from the standard solo literature (Mozart’s Concerto K. 622, Weber’s Concerto #1 or #2, Finzi’s Five Bagatelles, Brahms’ Sonata #1 or #2).
  1. An etude, either lyrical or technical, selected from either Ferling’s 48 Studies for Oboe or Saxophone or Hite’s Melodious & Progressive Studies, Bks. 1 & 2.
  2. A movement from the standard solo literature: Creston, Heiden, Ibert, Glazounov, etc. in contrasting style from the etude.
  1. An etude such as Arban’s 14 Characteristic Studies, Bousquet’s 36 Etudes, Charlier’s 36 Transcendental Etudes, or Goldman’s Practical Studies.
  2. A solo such as Hummel’s Concerto in E-Flat (two contrasting movements), Kennan’s Sonata (two contrasting movements), Hansen’s Sonata (two contrasting movements), Ropartz’s Andante and Allegro, or Balay’s Andante and Allegretto.
  1. An etude by Kopprasch or Maxime-Alphonse.
  2. First movement of any Mozart horn concerto or the first movement of Strauss’s Concerto, Op. 11.
  1. A lyrical etude such as Rochut (Bordogni) Melodious Etudes, Book 1.
  2. A technical etude such as Vobaron, Kopprasch, Arban, Cornette, etc. 
  3. A solo such as Guilmant’s Morceau Symphonique, Saint-Saens’s Cavatine Op. 144, or Barat’s Andante and Allegro.
  1. One of the following solos/etudes: Rochut’s Melodious Etudes, Vaughan-Williams/Droste’s Six Studies in English Folk Songs (any 3), White’s Lyric Suite (mvts 3 and 4), Mozart’s Bassoon Concerto (mvt 1).
  2. One of the following excerpts: Holst’s Second Suite (mvt 1), Gordon Jacob’s Earl of Oxford March, or William Schumann’s When Jesus Wept.
  1. An etude selected from  collection by either Arban, Rochut (Bordogni), Kopprasch, Bladsevich, or Grigoriev.
  2. A solo such as Vaughn Williams’s Tuba Concerto or Six Studies in English Folk Songs, Gregson’s Tuba Concerto, or Hindemith’s Sonate.

Successful candidates will play all three instruments:

  1. A piano-forte-piano closed roll, flams, drags, and 4 stroke ruffs.
  2. A solo or etude by Cirone, Delecleuse, or Goldenberg.


  1. All major and minor scales. Scales should be two octaves ascending and descending and performed at a moderate tempo.
  2. A solo for 2 or 4 mallets by Stout, Musser, Creston, Bach, Green, or Goldenberg.


  1. Tune intervals of fourths and fifths and execute a piano-forte-piano roll.
  2. A solo or etude by Firth, Goodman, Carter, or Whaley.