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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

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

Prepare a program of 20 minutes. In exceptional cases, auditions on the modern instrument will be accepted. Transcriptions of material originally written for another instrument are accepted. You may be asked to sight-read (on-campus audition). Please review your individual instrument requirements below:

Lute
(Classical guitarists can audition on their instrument in special cases)

1. an early Fantasia (ricercare) by Francesco da Milano (or contemporary)

2. an Elizabethan piece (Dowland or contemporary)

3. Another work of your choice.
   听

Baroque Cello
(can be performed on modern cello in exceptional cases)

1. Unaccompanied Bach: 2 contrasting movements
   or
   two unaccompanied pieces: Dall鈥橝baco, Gabrielli, Supriani, Galli, etc.
2. At least two movements (slow and fast) from a sonata by an Italian, German, French, Spanish, Dutch, or English composer of the baroque era

3. You might be asked to play the bass part of your accompanied sonata.
   听

Baroque violin
(can be performed on modern violin in exceptional cases)

1. At least two contrasting movements from an unaccompanied work by Bach or Telemann
2. At least two movements (slow and fast) from a sonata by an Italian, German, French, Spanish, Dutch, or English composer of the baroque era.
   听

Historical flute
(can be performed on modern flute in exceptional cases)

1. At least two movements (slow and fast) from a sonata by a German or Italian composer.
2. An unaccompanied work.

3. at least two contrasting movements from a suite/sonate by a French composer.
   听

Recorder
Prepare at least 20 minutes of repertoire. The use of different recorders is encouraged.

Include at least three contrasting selections from the following categories :

1. a work from the 16th or 17th century
2. at least two movements (slow and fast) from a sonata by a German or Italian composer from the 18th century.
3. at least two movements, from a suite by a French composer.
4. at least one movement from a concerto.
5. an unaccompanied work of any era (including music from the Middle Ages and the Renaissance);
6. a work from the 20th or 21st century.
   听

For the other instruments (oboe, brass winds) :

Prepare a 20-minute program including contrasting movements from at least two baroque works of different styles.

We require that you include at least two songs or arias from the baroque repertoire or earlier.

For performance programs (BMus and Licentiate):

• Prepare five contrasting songs or arias to be performed from memory.
• Represent at least three of the four major languages (English, French, German, Italian).
• Select the first two pieces to be performed. Subsequent choices may be made by the panel.
• If you are participating in on-campus auditions:
  • 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.
• Select the first piece to be performed. Subsequent choices may be made by the panel.
• If you are participating in on-campus auditions:
  • 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.

• 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

Screening requirement has been removed for Fall 2024 admission. All applicants requesting an on-campus audition will be granted one.

1. Select one piece from each of the three categories below. For each selection, prepare the melody and an improvised solo.听The tunes listed below are examples. If you chose a tune that is not on the list, please bring a lead sheet for the rhythm section.听
   Bassists: Be prepared to demonstrate walking lines as well as solo ability on all three pieces.听
   Pianists and guitarists: Be prepared to demonstrate comping as well as solo ability on all three pieces.
   Jazz Vocalists: Please memorize all audition repertoire.
   Vocalists must also provide 3 copies of lead sheets for accompanists at the audition (for each selection below).
   • Blues (examples:听Billie's Bounce; Au Privave; Straight No Chaser; Tenor Madness; Sonny Moon for Two; Blues Walk).
   • Ballads (examples:听Body and Soul; What's New; I Can't Get Started; I Fall in Love too Easily).
   • Jazz Standards (examples:听Blue Bossa; Solar; All the Things You Are; So What; Green Dolphin Street; What is this Thing Called Love; Stella by Starlight; Four; Night and Day).
2. Prepare a Classical Study (not required for Vibraphone):听A short study or 茅tude of your choice. For Saxophone, prepare a study by Marcel Mule, Ferling or Guy Lacour.
   Jazz Voice applicants can submit one of the following in place of a classical study: Vocalese must consist of 1-2 choruses of vocalese in addition to the melody head. The vocalese must be memorized and selected from one of the following three pieces:
   - ""Doodlin鈥欌�� 鈥擲arah Vaughan Album: No Count Sarah
   - 鈥淩ed Top鈥� 鈥擪ing Pleasure with Betty Carter Album: Red Top
   -鈥淐learly Beloved" / "Dearly Beloved鈥� 鈥擬eredith D鈥橝mbrosio Beware of Spring
3. Prepare one transcription听and play it along with the original recording.For example,听play along with the original recording of Charlie Parker's improvised solo on Now's the Time. The object is to evaluate accuracy, style, time concept, articulation, phrasing and sound. The transcription should be memorized and, for live auditions, bring a CD or mobile device of the original recording of your transcription to play along with. Remeber to bring any required adapter(s), ex: iPhone to stereo mini plug.
   For Jazz Voice applicants, the transcription should be memorized.
4. Be prepared to perform most common scales, chords and major, minor, diminished and augmented triads
5. Be prepared to sight read.

1. Bring your own cymbals, sticks, brushes, felts, cymbal sleeves, hi-hat clutches.
2. Prepare a short study (2-3 minutes) to show rudimental skills.
3. Prepare a short transcription (1-2 choruses) of an important jazz drummer (such as Max Roach, Joe Morello, Roy Haynes, Art Blakey).听The object is to evaluate accuracy, style, time concept, articulation, phrasing and sound. The transcription should be memorized and, for live auditions, be sure to bring a CD of the original recording of your transcription to play along with.
4. Be prepared to demonstrate the following proficiencies (examples of pieces that could be performed: Billie's Bounce; Au Privave; Straight No Chaser; Tenor Madness; Sonny Moon for Two; Blues Walk, All theThings You Are; So What, Green Dolphin Street; Stella by Starlight; Four; Night and Day):
   • Slow/Medium/Fast Swing, Jazz Shuffle, Straight-8th styles (鈥淓CM鈥�, Cuban and Brazilian grooves), Afro-Cuban-12/8.
   • Trading 4's, 8's or choruses on a blues, 32-bar AABA tune, and tunes of alternating latin, swing, latin, swing听 sections, while keeping the form of the pieces.
   • Ability to play with brushes as well as sticks and to change smoothly from brushes to sticks.
5. Sight read a typical drum chart and a rudimental style snare drum solo.

If you cannot attend an on-campus audition please prepare a recorded video audition. A live rhythm section must be used on your recordings.

1. Submit a video recording of three jazz pieces (ballad, blues and one standard)听and play the head and improvise. Play-along recordings are not acceptable.
   Jazz Vocalists: please memorize all audition repertoire
2. Submit one transcription (including a PDF of the score) and one classical study.

   Jazz Voice applicants can submit one of the following in place of a classical study: Vocalese must consist of 1-2 choruses of vocalese in addition to the melody head. The vocalese must be memorized.
   Jazz Voice applicants should also memorize the transcription.
   - 鈥淒oodlin鈥欌�� 鈥擲arah Vaughan Album: No Count Sarah
   - 鈥淩ed Top鈥� 鈥擪ing Pleasure with Betty Carter Album: Red Top
   - 鈥淐learly Beloved" / "Dearly Beloved鈥� 鈥擬eredith D鈥橝mbrosio Beware of Spring

3. Piano and guitar applicants: Include (play) chords behind听someone else's听solo.听Voice applicants: Improvise.听Bass applicants: Play a head, walk and solo.

1. Submit a video recording of three jazz pieces (blues, standard and a piece of your choosing) with a variety of tempos, forms and feels.听Play-along recordings are not听accepted. Videos should feature live performances with real musicians. Examples of pieces that could be performed:听Billie's 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听by Starlight; Four; Night and Day.听Be prepared to demonstrate the following proficiencies on your recording:
   • For each selection, accompany melody/solos and play an听improvised solo (unaccompanied solo, accompanied solo, or trading).
   • Demonstrate your ability to play with brushes as well as sticks and to change smoothly from brushes to sticks.
2. Transcription:
   • Submit a PDF of one short transcription (1-2 choruses) of an important jazz drummer (such as Max Roach, Joe Morello, Roy Haynes, Art Blakey).听The object is to evaluate accuracy, style, time concept, articulation, phrasing and sound. The transcription must be done by you and should be memorized.
   • Submit a video of you playing it along with the original recording.
3. Submit a short study/etude (2-3 minutes) to show 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,听you will be asked to sight-read听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
• orchestral excerpts: Ravel: Bolero; Prokofiev: Peter & the Wolf

Keyboard:

• one 2-mallet solo; one 4-mallet solo
• orchestral excerpts: Mozart: The Magic Flute; Ravel: Ma m猫re l'oye

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

At least three solo pieces (i.e., no concertos) must be presented:

-- one from category a
-- one from category b, and
-- one from category c, d, e, or f

a) At least one movement of a sonata (or a group of variations) from the 18th/early 19th century, e.g., Haydn, Mozart, Beethoven, Schubert.
b) One piece from the 19th century, e.g., Mendelssohn, Chopin, Schumann, Liszt, Brahms.
c) One piece from the 17th/18th century, e.g., Bach, Scarlatti, Rameau, Handel, Couperin.
d) One piece from the end of the 19th/early 20th century, e.g., Faur茅, Debussy, Ravel, Albeniz, Schoenberg, Reger, Scriabin, Rachmaninoff.
e) One piece from the 20th century (up to c.1950), e.g., Bartok, Webern, Hindemith, Stravinsky, Prokofiev, Messiaen.
f) One piece from the contemporary repertoire, e.g., Stockhausen, Boulez, Berio, Xenakis, Mather, Cherney, Rea, Tremblay, Vivier.

For Performance programs (B.Mus., L.Mus.), a minimum of 20 minutes of repertoire should be offered including one substantial work.听 The candidate will select the first work to be performed but may be interrupted by the panel. Sight reading may be given and memorization is required, with the exception of recent contemporary works (category f).

For non-performance programs, 15 minutes (or more) must be prepared, with memorization optional. The candidate will select the first work to be performed. No sight reading will be given.

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.