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• Schedule an audition by filling out the form.
• If none of the scheduled dates will accommodate your schedule, you can contact the Choral Activities Office at 601.266.4892 or email the Director of Choral Activities at Gregory.FullerFREEMississippi.
• Music majors must prepare two pieces to sing for the choral/vocal faculty. One of those selections must be of the fine arts/classical style. The other piece may be in the style of your choosing.
• Non-majors wishing to participate in Choral Activities must sing one piece. It is preferred that this piece be of the fine arts/classical style.
• Auditions will also include simple vocal exercises and sight-reading.
  Under extenuating circumstances, auditions via electronic submission may be accepted for those who are unable to travel to campus. A follow-up letter will be mailed to confirm results of each audition.

• Scholarships are available to students (singers and pianists) in the form of SERVICE AWARDS. Music majors, non-music majors, undergraduates, and graduate students are eligible to receive these stipends.
• Participation in a large ensemble (Southern Chorale, Concert Choir, Women's Chorus, or Southern Miss Men , all including the Hattiesburg Choral Union) is a primary requirement of these scholarships.
• Multiple audition days are held each year to determine awards for the following fall. Awards are given for each calendar year and are renewable if requirements are met.
• Service Awards are granted on the basis of the student’s musical ability and potential, teacher recommendation, desire and attitude, and the needs of the student. Awards generally range from $400 to $2,000 annually, good for up to five years, with the higher awards offered to truly exceptional students majoring in music. Awards are made to students of all majors.
• Ó£ÌÒÊÓƵ provides additional financial assistance to academically talented students. Students with special financial needs should call The University’s Financial Aid Office at 601.266.4774 or by visiting .

1. Prepared jazz selection of standard jazz repertoire from the list of suggested
   tunes. Performance should include your interpretation of the melody and an
   improvised solo. Suggested tunes may include blues pieces.
2. Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
3. Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
4.  Easy level sight-reading.

Suggested Repertoire:

• Satin Doll (Ellington)
• Autumn Leaves
• Billie’s Bounce (Parker)
• I’ve Got Rhythm (Gershwin)
• Cotton Tail (Ellington)
• Summertime (Gershwin)
• Four (Miles Davis)
• Blue Bossa (Kenny Dorham)
• Straight, No Chaser (Thelonious Monk)
• Work Song (Nat Adderly)

Most of these can be found in play along form with a book and CD from Jamey
Aebersold on the website: . You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

1. Bassline realization of a standard jazz tune using a lead sheet (melody and chord symbols) in swing style walking quarter note, bossa nova style, samba or other Latin style is optional.-(prepared)
2. Bassline realization in varied styles of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
3. Bassline realization on a jazz style blues progression.
4. Encouraged but not required: perform a piece of jazz band music of your choosing, or solo transcription, jazz etude (e.g. Snidero Jazz Conception) or original composition that best demonstrates your abilities. Improvise on any of the above of #’s 1,2,3.

1. Chord voicing realization of a standard jazz tune -(prepared),
2. Chord voicing realization of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
3. Prepared jazz selection of standard jazz repertoire from the list of suggested tunes. Performance should include your interpretation of the melody and an improvised solo. Suggested tunes may include blues pieces. This selection may be the same piece used in #1.
4. Piano - varied voicings (minimum 3 notes) on unaltered dominant chords. These voicings may include some extensions and do not need to include the root of the chord. You may be asked to demonstrate these in both the left hand and right hand.
5. Guitar - varied voicings (minimum 3 notes) on unaltered dominant chords. These voicings may include some extensions and do not need to include the root of the chord.
6. Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
7. Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
8. Easy level sight–reading of both notes and chord symbols.

Suggested Repertoire:

• Satin Doll (Ellington)
• Autumn Leaves
• Billie’s Bounce (Parker)
• I’ve Got Rhythm (Gershwin)
• Cotton Tail (Ellington)
• Summertime (Gershwin)
• Four (Miles Davis)
• Blue Bossa (Kenny Dorham)
• Straight, No Chaser (Thelonious Monk)
• Work Song (Nat Adderly)

Most of these can be found in play along form with a book and CD from Jamey 
Aebersold on the website: . You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

1. Chord voicing realization of a standard jazz tune -(prepared),
2. Chord voicing realization of a standard jazz tune provided by the auditioner at the time of the audition from list of suggested tunes.
3.  Prepared jazz selection of standard jazz repertoire from the list of suggested tunes. Performance should include your interpretation of the melody and an improvised solo. Suggested tunes may include blues pieces. This selection may be the same piece used in #1.
4. Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz etude such as found in the Jazz Conception by Jim Snidero are also good choices.
5. Major scales and related modes and arpeggios in any of the 12 keys selected by auditioner.
6. Easy level sight –reading of both notes and chord symbols

Suggested Repertoire:

• Satin Doll (Ellington)
• Autumn Leaves
• Billie’s Bounce (Parker)
• I’ve Got Rhythm (Gershwin)
• Cotton Tail (Ellington)
• Summertime (Gershwin)
• Four (Miles Davis)
• Blue Bossa (Kenny Dorham)
• Straight, No Chaser (Thelonious Monk)
• Work Song (Nat Adderly)

Most of these can be found in play along form with a book and CD from Jamey
Aebersold on the website: . You may perform with a play-along pre-recorded accompaniment or your auditioner can provide accompaniment.

1. Demonstration of the beat patterns for the following styles – 8 bar phrases with fills at the end of each phrase: Medium tempo swing, up-tempo swing (up to 180 bpm), Bossa Nova, Samba or Mambo, Shuffle Funk/Hip Hop, Ballad with brushes (optional.)
2. Open choice selection by the prospective student that demonstrates where their musical abilities are strongest. This selection may be fully notated and does not have to be a jazz piece, but something that reflects jazz influence is strongly recommended. A feature part from your jazz band music or a jazz drum solo etude are also good choices.
3. Easy level sight-reading of a big band drum part.