The musical excerpts used in orchestral auditions in the United States present an extremely limited scope of style, period, and representation. As a result, they are unnecessarily exclusive and do not address several fundamental skills that are necessary for success in the profession. For the past several years, I have been working to integrate new excerpts into audition lists that I can control (mainly university placement auditions and festival audition lists). My goal in doing so has been to represent a broader range of styles, techniques, time periods, and composers’ identities. In the process, I’ve successfully used a number of excerpts (including works by Tania Leon, Hilda Paredes, Margaret Bonds, and Clarice Assad, among others) that I believe are extremely effective in audition settings. This presentation and workshop will identify a number of excerpts in this category, give them musical, stylistic, and historical context, and feature performances by symposium participants.