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Brass

• The repertoire for your instrument should demonstrate your ability to play in a lyrical manner and to articulate clearly in both legato and staccato styles.
• Prepare one major solo piece from the traditional repertoire for your instrument.
• Prepare a technical 茅tude.

Woodwind

The repertoire for your instrument should demonstrates your ability to play in a lyrical manner and to articulate clearly in both legato and staccato styles.

• Prepare two contrasting solo works from the traditional repertoire for your instrument. Partial works are acceptable.
• We encourage woodwind applicants to prepare a complete or partial work by a composer who has been traditionally underrepresented by virtue of their gender, sexual orientation, disability, race, ethnicity or cultural heritage

Instruments: Baroque Violin, Viola, Cello, Viola da Gamba, Lute, Flute, Recorder, Oboe, Early Brass

General Guidelines:

• Auditions are unaccompanied (no accompanists allowed)
• Prepare a 20-minute program
• Modern instruments accepted only in exceptional cases, except recorder
• Transcriptions of material originally written for another instrument are allowed
• On-campus auditions may include sight reading

Instrument-Specific Requirements

Lute

• Early fantasia/ricercare (Francesco da Milano or contemporary)
• Elizabethan piece (Dowland or contemporary)
• One work of your choice

Baroque Cello

• Either: 2 contrasting movements from Bach (unaccompanied), OR 2 unaccompanied works (Dall鈥橝baco, Gabrielli, Supriani, Galli, etc.)
• At least 2 movements (slow + fast) from a Baroque sonata (Italian, German, French, Spanish, Dutch, or English composer)
• May be asked to play bass part of accompanied sonata

Baroque Violin

• 2 contrasting movements from an unaccompanied work by Bach or Telemann
• 2 movements (slow + fast) from a Baroque sonata (Italian, German, French, Spanish, Dutch, or English composer)

Historical Flute

• 2 movements (slow + fast) from a German or Italian sonata
• 1 unaccompanied work
• 2 contrasting movements from a French suite/sonata

Recorder

• 20 minutes of repertoire (different recorders encouraged)
• At least 3 contrasting selections from:
  • 16th/17th-century work
  • 2 movements from an 18th-century German/Italian sonata
  • 2 movements from a French suite
  • 1 concerto movement
  • 1 unaccompanied work (any era, incl. Medieval/Renaissance)
  • 1 work from the 20th/21st century

Oboe & Early Brass

• 20-minute program with contrasting movements from at least two Baroque works in different styles

Performance Programs (B.Mus. & Licentiate):

• Prepare five contrasting songs/arias from memory.
• Include at least three of the four major languages: English, French, German, Italian.
• Include at least two songs or arias from the Baroque period or earlier.
• You choose the first two pieces; the panel may select the rest.
• On-campus auditions: Provide eight typed copies of your repertoire list for the panel. Music copies are not required.

Non-Performance Programs:

• Prepare three contrasting songs/arias from memory in at least two languages.
• Include at least two songs or arias from the Baroque period or earlier.
• You choose the first piece; the panel may select the rest.
• On-campus auditions: Provide eight typed copies of your repertoire list. Music copies are not required.

Recorded Video Auditions (All Programs):

• Live performance recordings are acceptable.
• Recordings should clearly capture the voice with minimal reverberation.

• Include live accompaniment in your recordings.

• Prepare three pieces of contrasting styles, one of which may be an 茅tude selected from the classical guitar repertoire.
• Select works with musical and technical content appropriate to your knowledge and abilities.
• A nylon-string classical guitar is required for all pieces
• You may be asked to sight-read

*For recorded auditions: Videos must be unedited, in a single shot (no edits between pieces or at any time).

• Prepare three pieces of different styles.
• Include a 20th-century composition听and an 茅tude.听

Prepare three solo pieces, one from each category, of the total duration of at least 20 minutes.
(pianists can in exceptional cases audition on their instrument)

1. J.S. Bach: a prelude and fugue, or a polyphonic movement of a suite
   or
   A polyphonic piece by another German composer ~1750-1850
2. A French baroque piece or selection of suite movements
   or
   A sonata by Domenico Scarlatti
3. A piece or selection of pieces by either an English, an Italian or a Flemish baroque composer
   or
   A movement of a classical sonata

A live rhythm section is required鈥攑lay-along tracks are not acceptable.

Instruments: Bass, Electric Bass, Guitar, Piano, Saxophone, Trombone, Trumpet, Vibraphone, Voice
For Drums, see additional requirements.

1. Submit three jazz pieces: one ballad, one blues, and one standard. Play the head and improvise.
2. Submit one transcription (PDF of the score) and one classical study.
   • Jazz Voice alternative to classical study: perform 1鈥�2 choruses of vocalese in addition to the melody head, memorized. Choose from:
     • 鈥湺俅谴腔灞艟辈遭�欌�� 鈥� Sarah Vaughan (No Count Sarah)
     • 鈥淩ed Top鈥� 鈥� King Pleasure with Betty Carter (Red Top)
     • 鈥淐learly Beloved鈥� / 鈥淒early Beloved鈥� 鈥� Meredith D鈥橝mbrosio (Beware of Spring)

Additional Requirements by Instrument:

• Voice: memorize everything, include improvisation.
• Piano/Guitar: play chords behind someone else鈥檚 solo.
• Bass: play head, walk, and solo.
• Drums:
  • Submit three jazz pieces (blues, standard, and one of your choice) with varied tempos, forms, and feels. Examples: Billie鈥檚 Bounce, Au Privave, Straight No Chaser, Tenor Madness, Sonny Moon for Two, Blues Walk, All the Things You Are, So What, Green Dolphin Street, Stella by Starlight, Four, Night and Day.

• Demonstrate:
  • Accompanying melody/solos and improvising solos (unaccompanied, accompanied, or trading).
  • Playing with brushes and sticks; smooth transitions between them.
• Transcription: one short jazz drum transcription (1鈥�2 choruses) of an important drummer (Max Roach, Joe Morello, Roy Haynes, Art Blakey). Provide a PDF, memorize it, and submit a video playing along with the original recording.
• Short study/etude: 2鈥�3 minutes to demonstrate rudimental skills.

Your audition will last approximately 30 minutes.听

If you choose to audition on a mechanical action instrument:

Prepare three pieces, including:

• a Prelude and Fugue from North German school (Buxtehude, Bruhns, Lubeck, Bach),
• a slow movement from a Bach trio sonata or Bach D minor trio (BWV 583),
• a short romantic or contemporary piece.
  听

If you choose to audition on an electric action instrument:

Prepare three pieces, including:

• a significant work of J.S. Bach or from the North German school (prelude and fugue, a movement from a trio-sonata, a large-scale chorale prelude)
• a romantic piece
• a piece written during the 20^th or 21^st centuries

If participating in on-campus auditions, you will be asked to sight-read on snare drum, timpani and keyboard (2 mallets).

Snare drum

• long roll; closed roll, five bars total (tempo 60 bpm, 4/4; 20 beats total):
  • 1 bar pp / 1 bar crescendo to ff / 1 bar ff / 1 bar decrescendo to pp / 1 bar pp
• one rudimental solo
• one solo from Del茅cluse m茅thode de caisse-claire, Lepak, or Cirone or similar

Keyboard

• one 2-mallet solo;
• one 4-mallet solo, on vibraphone or marimba;
• orchestral excerpt: Mozart: The Magic Flute

Timpani

• one study from Mitchell Peters: Intermediate Timpani Studies, Saul Goodman: Timpani Method, or J. Del茅cluse studies or similar

If submitting a recorded audition video, audition pieces can be recorded separately. Please clearly label each video with the name of the piece (or excerpt) and composer.

听

Prepare at least three solo pieces (no concertos):

• One from Category A
• One from Category B
• One from Categories C, D, E, or F

Categories

• A. Sonata movement or set of variations (18th/early 19th c.) 鈥� Haydn, Mozart, Beethoven, Schubert
• B. 19th century 鈥� Mendelssohn, Chopin, Schumann, Liszt, Brahms
• C. 17th/18th century 鈥� Bach, Scarlatti, Rameau, Handel, Couperin
• D. Late 19th/early 20th century 鈥� Faur茅, Debussy, Ravel, Albeniz, Schoenberg, Reger, Scriabin, Rachmaninoff
• E. 20th century (to ~1960) 鈥� Bart贸k, Webern, Hindemith, Stravinsky, Prokofiev, Messiaen, Poulenc
• F. Contemporary repertoire 鈥� Stockhausen, Boulez, Berio, Xenakis, Mather, Cherney, Rea, Tremblay, Vivier

Performance Program Requirements (B.Mus., L.Mus.)

• At least 20 minutes of repertoire, including one substantial work.
• Candidate chooses the first work; panel may interrupt.
• Sight reading may be given.
• Memorization required, except for recent contemporary works (Category F).

Non-Performance Program Requirements (Music Studies)

• At least 15 minutes of repertoire.
• Candidate chooses the first work.
• Memorization optional.
• No sight reading.

Performance Applicants:

Violin

• Unaccompanied Bach: 2 contrasting movements
• First and second movements from a classical, romantic or 20th-century concerto
• All concertos and unaccompanied Bach to be played from memory.

Viola

• Scales: one three-octave scale, major, minor melodic and harmonic, 3, 6, 8, 12, and 24 notes per bow
• Arpeggios: one three-octave arpeggio, major and minor, 3 notes per bow
• Unaccompanied Bach: two contrasting movements
• First and second movements of a pre-classic, classical, romantic or 20th-century concerto or sonata
• All concertos and unaccompanied Bach to be played from memory.

Cello

• Unaccompanied Bach: 2 contrasting movements
• First and second movements of any pre-classic, classical or romantic concerto
• All concertos and unaccompanied Bach to be played from memory.

Double Bass

• 2 contrasting movements of a standard concerto or sonata, with piano accompaniment (please provide the piano part)
• Any movement from a solo Bach suite (in any key) or any study for solo double bass
• 2 contrasting exerpts from the standard orchestral repertoire
• Memorization of the audition repertoire is not required.

For Non-performance Programs:

Cello, Viola, Violin

For performance programs (BMus and Licentiate):

• Prepare five contrasting songs or arias to be performed from memory. Applicants who are submitting a recorded audition will submit five pieces.
• Represent at least three of the four major languages (English, French, German, Italian).
• If you are participating in on-campus auditions:
  • Select the first two pieces to be performed. Subsequent choices may be made by the panel.
  • Provide eight typed copies of your repertoire list for the audition panel. Copies of the music for the panel are not required.

For non-performance programs:

• Prepare three contrasting songs or arias to be performed from memory and representing at least two languages. Applicants who are submitting a recorded audition will submit three pieces.

• If you are participating in on-campus auditions:
  • Select the first piece to be performed. Subsequent choices may be made by the panel.
  • Provide eight typed copies of your repertoire list for the audition panel. Copies of the music for the panel are not required.

For both performance and non-performance programs:

Recorded Video Auditions:

• You can submit recordings from live performances 鈥� as long as the recording is not too distant overall, and that the sound of the voice is very clear.
• For all recordings, less reverberant sound capture is more indicative of the singer鈥檚 abilities and therefore a more suitable and effective submission.
• Your recordings should include live accompaniment.