Woodwinds and Brass

The application fee for the USC Graduate application is $90. Application fee waivers are available to qualified applicants, and must be requested before submitting the USC Graduate Application. If you plan to apply for a waiver of the USC Graduate Application fee, please do so at least two weeks before the application deadline. The deadline will not be extended for applicants who fail to request a fee waiver in time. Details and instructions can be found here.

All Thornton graduate applicants must upload transcripts into both the USC Graduate Application (Liaison) AND Thornton SlideRoom Application. The transcript submission deadline is December 1st. Please carefully read the instructions below.

Step 1– You must obtain official transcripts from the registrar’s office of each of your prior institutions before you can complete and submit the application forms. This may take some time, please plan accordingly.

Step 2– Upload Scans (PDF format) of official transcripts from all post-secondary institutions you have attended into the “Academic History” section of the USC Graduate application (Liaison).

Step 3– Upload Scans (PDF format) of official transcripts from all post-secondary institutions you have attended into the SlideRoom application where indicated.

Unofficial transcripts or documents printed from an on-line student system will not be accepted. Failure to upload scans of official transcripts in both application forms may significantly delay the release of a final admission decision.

When completing the USC Graduate application, it is important to pay special attention to the following items that you will find in the “program materials” section of the application:

• Thornton SlideRoom portal – A link to access the Thornton SlideRoom portal will be provided in this section.
• The Documents tab – Documents submitted in this section will not be accessible to the Thornton faculty. Thornton faculty will only be able to review documents submitted via the Thornton SlideRoom portal. In order to complete this section, you must check the box indicating that you do not wish to upload documents in this section.
• The Questions tab – Enter your SlideRoom Confirmation number where indicated (you will receive your SlideRoom confirmation number upon submission of the SlideRoom form).

Click here for important additional requirements and instructions.

A link to the SlideRoom portal is located inside the USC Application for Graduate Admission, in the “Program Materials” Section.

The SlideRoom application fee is $25 (fee waivers are not available). Thornton supplemental materials will not be accepted via mail or email.

The SlideRoom form must be submitted before the USC Application for Graduate Admission (Applicants can start both forms and work on them at the same time). Once SlideRoom is submitted, you will need to enter your SlideRoom confirmation number into the “Questions” tab, also located in the “program materials” section of the USC Graduate application.

Applicants to programs in Woodwinds and Brass must submit recordings to be prescreened by the faculty. A video recording is required for Flute, Clarinet, French Horn, and Saxophone (audio recordings are accepted for all other instruments). The results of this prescreen will determine whether an applicant will be invited to perform a live audition. Prescreen results will be sent to applicants via email in late December.

Current USC Thornton students applying for a graduate program are not required to submit a prescreen recording, however they must indicate on the application that they are a current Thornton student or they will not automatically be scheduled for a live audition. Current USC students are encouraged to contact Kit Bellamy (keb@usc.edu) in the Thornton Admission office with any questions or concerns regarding audition scheduling.

Flute

Piano accompaniment is optional for flute Prescreen audition recordings. Flute prescreen recordings must be video recordings. Audio only recordings will not be accepted. Audition repertoire requirements are the same for all degree levels.

• Mozart – Exposition of 1st and 2nd movements of Concerto in G Major or D Major – piano not necessary.
• One movement from a contrasting sonata/concerto or complete equivalent concert piece.

Two excerpts from the following list:

• Mendelssohn Scherzo from A Midsummer Night’s Dream – 2 measures before P to the end.
• Beethoven Leonore Overture No. 3 – measures 328–360.
• Brahms Symphony No. 4 – Last movement – measures 93–105.
• Debussy Afternoon of a Faun – measures 1–4

Clarinet

Piano accompaniment is not required. Prescreen audition recordings for Clarinet must be video recordings. Audio only recordings will not be accepted. Audition repertoire requirements are the same for all degree levels.

Three selections representing various stylistic periods of music. These selections should be full-length pieces from the standard solo literature, although excerpts from ensemble literature may also be included. If any of the selections are taken from a multi-movement sonata or concerto, applicants need only prepare one movement of the piece.

French Horn

Piano accompaniment is not required. Prescreen audition recordings for French Horn must be video only. Audio only recordings will not be accepted. Audition repertoire requirements are the same for all graduate degree levels.

1. Exposition from Mozart concertos 2 or 4, OR the first page of either Strauss concerto (No. 1 – until the 11 bars of rest half way down the page on most editions; No. 2 – the first page of the horn part)
2. Please choose one excerpt from each group below (a total of 2 excerpts)

Group A

• RAVEL: Piano Concerto in G major (horn 1, movement 1, rehearsal numbers 25-26)
• BEETHOVEN: Symphony No. 7 in A major, op. 92 (horn 1, movement 1, measures 84-102)
• WAGNER: from Gotterdammerung (Sigfried’s short call)

Group B

• SHOSTAKOVICH: Symphony No. 5 in D minor, op. 47 (horn 1, movement 1, low tutti)
• BEETHOVEN: Symphony No. 3 in E-flat major, op. 55 “Eroica” (Scherzo trio, horn 2, measures 171-205)
• R. STRAUSS: Don Quixote (Variation VIII, horn 2, six measures before rehearsal 59 to eight measures after rehearsal 62)

Trombone

Piano accompaniment is not required. Audio or video recordings are acceptable for prescreen. Audition repertoire requirements are the same for all degree levels.

Tenor Trombone:

• A movement from one solo piece of your choice.

Orchestral excerpts from:

• Trombone solo from the Mozart Requiem
• Wagner- Ride of the Walküre
• Rossini- La Gazza Ladra
• Ravel- Bolero

Bass Trombone:

• Lebedev – Concerto in one Movement

Orchestral excerpts from:

• Kodály – Háry János Suite
• Wagner – Ride of the Walküre
• Rossini – La Gazza Ladra

Tuba

Piano accompaniment is not required, unless otherwise noted below. Audio or video recordings are acceptable for prescreen. Audition repertoire requirements are the same for all graduate degree levels. Important notes for tuba: Graduate applicants must demonstrate both CC (or BBb) and F (or Eb) tubas either in the live audition or prescreen recording.

• Two contrasting movements or etudes from standard tuba literature. One should be with piano or other accompaniment. A live recital or jury performance is preferred.
• Two standard orchestral excerpts

Bassoon

Piano accompaniment is not required. Audio or video recordings are acceptable for prescreen. Audition repertoire requirements are the same for all degree levels.

• Three selections representing various stylistic periods of music. These selections should be full-length pieces chosen from the standard solo literature or standard etude books such as Weissenborn, Jancourt, Milde, or comparable excerpts from standard ensemble literature may also be included. If any of the selections are taken from a multi-movement sonata or concerto, applicants need only prepare one movement of the piece.

Trumpet

Piano accompaniment is not required. Audio or video recordings are acceptable for prescreen. Audition repertoire requirements are the same for all graduate degree levels.

• One movement from two contrasting solo pieces
• One etude from Charlier’s 36 Etudes for Trumpet
• One etude from Brandt’s 34 Studies
• Four contrasting orchestral excerpts as appropriate to training and experiences

Oboe

Piano accompaniment is not required. Audio or video recordings are acceptable for prescreen. Audition repertoire requirements are the same for all graduate degree levels.

• Two selections, in contrasting styles, from the standard solo repertoire

Saxophone

Piano accompaniment is not required. Prescreen audition recordings for Saxophone must be video only. Audio only recordings will not be accepted.

• One major work from the advanced standard saxophone literature
• A program from your senior recital
• Play all major and melodic minor scales demonstrating full range
• One etude from the 28 Studies after the Modes of Oliver Messaein by Guy Lacour

The résumé should list musical, professional, and academic experience and is generally 1-2 pages in length.

This list should include works studied and performed. Etudes, scale studies, arias, art songs, chamber music, solo pieces, and original compositions are all examples of what could be included in this list.

Graduate applicants are encouraged to prepare a brief statement of their professional goals, as well as their purpose in applying for the Woodwinds and Brass program. The Statement of Purpose is typically 1-2 pages in length.

All Thornton graduate applicants must upload transcripts into both the USC Graduate Application (Liaison) AND Thornton SlideRoom Application. The transcript submission deadline is December 1st. Please carefully read the instructions below.

Step 1– You must obtain official transcripts from the registrar’s office of each of your prior institutions before you can complete and submit the application forms. This may take some time, please plan accordingly.

Step 2– Upload Scans (PDF format) of official transcripts from all post-secondary institutions you have attended into the SlideRoom application where indicated.

Step 3– Upload Scans (PDF format) of official transcripts from all post-secondary institutions you have attended into the “Academic History” section of the USC Graduate application (Liaison).

Unofficial transcripts or documents printed from an on-line student system will not be accepted. Failure to upload scans of official transcripts in both application forms may significantly delay the release of a final admission decision.

1-3 recommendation letters are required from graduate applicants. Recommendation letters are to be submitted online through the Thornton SlideRoom portal via the “References” section by December 1. We cannot guarantee the review of any material received after December 1.

Special Instructions for DMA Applicants: 

Letters of recommendation from all DMA applicants, including current Thornton students, should address not only the applicant’s musical talents but their potential to thrive in a rigorous musical and academic environment in which they will construct a path of study that includes three fields in addition to their major area.  At least one recommendation letter should be from a professor who has assessed a major research or analytical paper that the applicant has written. 

A “Doctoral Introductory Video” must be submitted through SlideRoom by December 1st.

USC Thornton recognizes that DMA and PhD graduates are expected not only to be elite performers and scholarly experts in their fields, but also exceptional and versatile teachers, inspiring and innovative leaders, and consummate musicians with strong complementary skills. This is a tall order, and it necessitates a well-honed individualized academic portfolio. To this end, USC Thornton requires every Doctoral student to declare, in addition to the major field, an academic field and two elective fields, one of which may be a field outside of music. The purpose of this multidisciplinary approach is to support each student’s personal and artistic development in a way that will be well-aligned with her/his professional goals.

As a reflection of the individualized nature of the USC Thornton Doctoral programs, DMA and PhD applicants are required to submit a single-take, unedited, and preferably unscripted video of no more than four minutes. The DMA program at Thornton aims to nurture and build a community of Artist-Scholars and Scholar-Artists.  What does this term mean to you? And what are your goals in pursuing this degree? What academic and elective areas would you be interested in pursuing beyond your major? 

Information about the DMA curriculum, including academic and elective field options can be found here. 

Applicants to the Thornton School will be required to complete and upload the following form in SlideRoom:

• Consent and Release Form (if applicant is under 18 years of age by December 1, 2024)

For helpful Slideroom media upload troubleshooting tips, please click here.

Flute

Live Flute auditions should be performed without piano accompaniment. Audition repertoire requirements are the same for all graduate degree levels.

• Mozart – Exposition of 1st and 2nd movements of Concerto in G Major or D Major – piano not necessary.
• One movement from a contrasting sonata/concerto or complete equivalent concert piece.

Two excerpts from the following list:

• Mendelssohn Scherzo from A Midsummer Night’s Dream – 2 measures before P to the end.
• Beethoven Leonore Overture No. 3 – measures 328–360.
• Brahms Symphony No. 4 – Last movement – measures 93–105.
• Debussy Afternoon of a Faun – measures 1–4

Clarinet

Piano accompaniment is not required. Audition repertoire requirements are the same for all graduate degree levels.

• Three selections representing various stylistic periods of music. These selections should be full-length pieces from the standard solo literature, although excerpts from ensemble literature may also be included. If any of the selections are taken from a multi-movement sonata or concerto, applicants need only prepare one movement of the piece.

French Horn

Piano accompaniment is not required. Applicants must be prepared to perform the following selections for the live audition. It is not necessary that the repertoire prepared be identical to the prescreen recording. Audition repertoire requirements are the same for all graduate degree levels.

• Two etudes of the applicant’s choice, showing the applicant’s level of technical and musical advancement.
• At least one major solo of the applicant’s choice.
• Three to six standard orchestral excerpts.
• Additional evaluation such as scales, range/register exploration, and an interview might be included as part of the live audition.

Trombone

Piano accompaniment is not required. Audition repertoire requirements are the same for all graduate degree levels.

Tenor Trombone:

• A movement from one solo piece of your choice.

Orchestral excerpts from:

• Trombone solo from the Mozart Requiem
• Wagner- Ride of the Walküre
• Rossini- La Gazza Ladra
• Ravel- Bolero

Bass Trombone:

• Lebedev – Concerto in one Movement

Orchestral excerpts from:

• Kodály – Háry János Suite
• Wagner – Ride of the Walküre
• Rossini – La Gazza Ladra

Tuba

Piano accompaniment is not required. Audition repertoire requirements are the same for all graduate degree levels. Important notes for tuba: Graduate students must demonstrate both CC (or BBb) and F (or Eb) tubas either in the live audition or prescreen recording.

• Two contrasting movements from tuba literature that show musicality, tone, pitch, and range
• Two standard orchestral excerpts

Bassoon

Piano accompaniment is not required. Audition repertoire requirements are the same for all graduate degree levels.

• Three selections representing various stylistic periods of music. These selections should be full-length pieces chosen from the standard solo literature or standard etude books such as Weissenborn, Jancourt, Milde, or comparable excerpts from standard ensemble literature may also be included. If any of the selections are taken from a multi-movement sonata or concerto, applicants need only prepare one movement of the piece.
• All major and minor scales and sight reading may be tested at the live audition.

Trumpet

Piano accompaniment is not required. Audition repertoire requirements are the same for all graduate degree levels.

• One movement from two contrasting solo pieces
• One etude from Charlier’s 36 Etudes for Trumpet
• One etude from Brandt’s 34 Studies
• Four contrasting orchestral excerpts as appropriate to training and experiences
• Sight reading and all major and minor scales may be tested at the live audition

Oboe

Piano accompaniment is NOT required. Audition repertoire requirements are the same for all graduate degree levels.

• Three selections representing various stylistic periods of music. These selections should be full-length pieces from the standard solo literature, although excerpts from ensemble literature may also be included. If any of the selections are taken from a multi-movement sonata or concerto, applicants need only prepare one movement of the piece.

Saxophone

Piano accompaniment is not required.

• One major work from the advanced standard saxophone literature
• A program from your senior recital
• Play all major and melodic minor scales demonstrating full range
• One etude from the 28 Studies after the Modes of Oliver Messaein by Guy Lacour

DMA applicants to Woodwind and Brass programs must take Thornton’s Graduate Academic Admission Examination. The examination will be administered via an online platform on January 18, 2025 from 8:00 AM – 11:00 AM Pacific Standard Time. Applicants will receive materials to be reviewed in preparation for the exam about two weeks prior to the exam date. Additional details will be sent in mid-December to those applicants who are required to take the exam.

This written examination reflects the types of critical inquiry with which graduate-level courses at USC Thornton engage. The examination will be assessed by academic faculty as a measure of an applicant’s readiness for the academic rigors and multi-disciplinary structure of Thornton graduate programs. This assessment will be one of several important components considered by the faculty in order to reach a final admission decision for each applicant.

The examination will be administered in two sequential sections:

1. Conceptual Essay: Applicants will be given an essay prompt about an issue or issues in the music profession today. Applicants will be asked to write a short essay exploring various aspects of the topic(s) introduced by the prompt, responding to specific questions and drawing on their own experience, knowledge, and opinions as appropriate.
2. Analytical Essay: Applicants will be given a scholarly/literary text on a music-related topic. Applicants will be asked to respond in essay form to a series of analytical questions relating to the text provided. The analytical issues may concern basic music theory (possibly with reference to a short example in musical notation), music history, and/or aesthetics.

It is important to note that Thornton’s Graduate Academic Admission Examination is not an examination for which students are generally able to study or prepare. It is not designed to examine factual knowledge, but rather the ability to think analytically and express critical thought in academic language, as this is the type of work that is required for graduate-level academic courses at USC Thornton. While the content of Thornton’s Graduate Academic Admission Examination may be drawn from a wide range of scholarly sources, it may be helpful to refer to the following publications by our own faculty:

• Barrett, Janet & Webster, Peter: The Musical Experience: Rethinking Music Teaching and Learning.
• Brown, Bruce: W. A. Mozart: Così fan tutte (Cambridge Opera Handbook)
• Coppola, William, Herbert, David, & Campbell, Patricia: World Music Pedagogy: Teaching World Music in Higher Education.
• Demers, Joanna: Anatomy of Thought-Fiction: CHS Report, April 2214
• Foster, Kenneth J: Performing Arts Presenting: From Theory to Practice
• Garcia Corona, León: & Wiens, Kathy: Voices of the Field: Pathways in Public Ethnomusicology.
• Gordon, Stewart: Beethoven’s 32 Piano Sonatas: A Handbook for Performers
• Nye, Sean: “Sprockets + Autobahn: Kraftwerk Parodies, German Electronic Music, and Retro Dreams in Amerika.” In Dreams of Germany: Musical Imaginaries from the Concert Hall to the Dance Floor. Neil Gregor and Thomas Irvine, eds.
• Page, Tim: On Music: Views and Reviews
• Russo, Frank, Ilari, Beatriz, & Cohen, Annabel: Routledge Companion of Interdisciplinary Research in Singing
• Simms, Bryan: The Atonal Music of Arnold Schoenberg, 1908-1923
• Sloan, Nate. Switched on Pop (blog with Charlie Harding). http://www.switchedonpop.com.
• Vest, Lisa: Awangarda: Tradition and Modernity in Postwar Polish Music