Audition repertoire requirements (graduate programs)

N/A

Prepare 25-30 minutes of repertoire including 2-3 contrasting solo works and an étude and/or various orchestral excerpts.

The repertoire for on-campus and recorded auditions is the same

Screening

30-minute video (camera facing the conductor) showing 15 minutes of rehearsal and 15 minutes of performance excerpts featuring a minimum of two contrasting works.

Live

This year your options are choral, orchestral and wind orchestra.

At your live audition:

• You will participate in a 15-30 minute rehearsal with one of our choral and/or instrumental ensembles.
• You may be asked to sight-sing and read a score at the keyboard.
• You may briefly be tested on your background knowledge of choral, orchestral, and wind orchestra literature.
• Choral conductors will be asked to perform two contrasting arias or art songs.
• Prepare for a 30-minute interview.

Recorded

Recorded auditions are not permitted for this program.

Screening

30-minute video (camera facing the conductor) showing 15 minutes of rehearsal and 15 minutes of performance excerpts featuring a minimum of two contrasting works.

Live

Applicants who pass the screening will be contacted with further instructions and repertoire to prepare for their on-campus auditions.

Recorded

Recorded auditions are not permitted for this program.

Screening

Early Music Voice

As of September 2023, screening is no longer required for this program.

Early Music Instruments

Early Music instrumentalists are exempt from the screening requirement for this program.

Live

Early Music Voice

• Five contrasting selections, including at least four different languages (Italian, German, French, English) and at least three arias chosen from the oratorio, opera, and cantata repertoire; one recitative must be included. All the selections should have been composed before 1800, and at least one selection should be by a female composer. All repertoire should be performed from memory.

Early Music Instruments

• Prepare a balanced 60-minute program representing the most important styles of the 17th and/or 18th centuries appropriate for your instrument.
• Include a work by Bach, a French suite or sonata, and an Italian sonata.

Fortepiano

• Prepare 60 minutes of recital repertoire on a five-octave classical fortepiano (FF-a3).
• Include at least one sonata by Joseph Haydn. The remaining works may be freely chosen from Mozart, Beethoven, Clementi, CPE Bach, or any other composer active between ca. 1750 and 1805.

Harpsichord

• Prepare 60 minutes of recital repertoire.
• Include a major work by J.S. Bach and two Scarlatti sonatas. The remaining pieces should include works by the English Virginalists, 17th-century Italian composers, and the French Clavecinistes.

Recorded

Record 30 minutes of repertoire from the on-campus audition requirements for your instrument.

Screening

Early Music Voice

As of September 2023, screening is no longer required for this program.

Early Music Instruments

Early Music instrumentalists are exempt from the screening requirement for this program.

Live

Early Music Voice

• Five contrasting selections, including at least four different languages (Italian, German, French, English) and at least three arias chosen from the oratorio, opera, and cantata repertoire; one recitative must be included. All the selections should have been composed before 1800, and at least one selection should be by a female composer. All repertoire should be performed from memory.

Early Music Instruments

• Prepare a balanced 60-minute program representing the most important styles of the 17th and/or 18th centuries appropriate for your instrument.

Fortepiano

• Prepare 60 minutes of recital repertoire on a five-octave classical fortepiano (FF-a3).
• Include at least one sonata by Joseph Haydn. The remaining works may be freely chosen from Mozart, Beethoven, Clementi, CPE Bach, or any other composer active between ca. 1750 and 1805.

Harpsichord

• Prepare a balanced 60-minute program representing the most important styles of the 17th and/or 18th centuries appropriate for your instrument.

Recorded

Post-Graduate Artist Diploma: The repertoire for on-campus and recorded auditions are the same.

Graduate Diploma in Performance: Record 30 minutes of repertoire from the on-campus audition requirements for your instrument.

Screening

• N/A

Live

• Prepare 40 minutes of free choice repertoire, demonstrating at least three contrasting styles. The audition panel will select approximately 25 minutes from your program to listen to.
• Applicants may include chamber music as part of their audition repertoire.
• You may be asked to sight-read.

Recorded

• The repertoire for on-campus and recorded auditions is the same.
• Please note that, for recorded auditions, guitar applicants must submit one 40-minute video. The video must be unedited and in one take (no edits between pieces or at any time).

Screening

• N/A

Live

• Prepare 60 minutes of recital repertoire, focusing on chamber music or solo performance.
• Include works relevant to your proposed performance specialization. For example, prepare contemporary works if your focus is on 20th-century music, prepare Renaissance and baroque works if your specialization is early music, etc.
• You may be asked to sight-read.

Recorded

• The repertoire for on-campus and recorded auditions is the same.
• Please note that, for recorded auditions, guitar applicants must submit one 40-minute video. The video must be unedited and in one take (no edits between pieces or at any time).

Screening

• N/A

Live

• Prepare approximately 40 minutes of repertoire.
• Include four works in different styles, including a 20^th century composition and an étude.
• You may be asked to sightread.

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

• Prepare 60 minutes of recital material in various styles.

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

All instruments must submit 3 contrasting pieces. Original compositions are not required but appreciated. You must improvise on all the “jazz” selections.

Brass:

Play one piece from each of the three categories below:

• A be-bop composition
• A classical étude
• A piece of your own choice

Saxophone:

Play one piece from each of the three categories below:

• A be-bop composition
• A transcribed solo with the recording
• A piece of your own choice

Piano:

Play one piece from each of the three categories below:

• A ballad
• A up-tempo swing (200 BPM minimum)
• A piece of your own choice (any style)
• At least 2 pieces must be performed with a live rhythm section (best possible level!) (Play-along recordings accepted only in cases where such musicians cannot be found by the applicant)
  • 1 piece can be solo piano piece (appreciated but not required) 
  • At least 1 piece must be a jazz standard

Drums:

Prepare three contrasting pieces

• 2 of the 3 pieces should have a swing feel (with 2 different tempos)
• 1 piece of your own choice
• These pieces must be performed with live musicians - no play-along recordings.

Bass:

Play one piece from each of the three categories below:

• A blues (examples: Billie's Bounce; Au Privave, Straight No Chaser, Tenor Madness, Sonny Moon for Two, Blues Walk).
• A jazz standard (examples: Solar, All the Things You Are, Green Dolphin Street, What Is This Thing Called Love, Stella by Starlight, Four, Night and Day). · A tune with a contrasting feel from the above. This could be either: - A ballad (examples: Body and Soul, What's New, I Can't Get Started, I Fall in Love Too Easily) - A latin or str. 8th tune (examples: Blue Bossa, Corcovado, The Girl From Ipanema, Recordame) or - A tune in 3/4 (examples: Someday My Prince Will Come, Alice In Wonderland, Bluesette, A Child Is Born).
• These pieces must be performed with a live rhythm section (i.e. piano or guitar, and drums) NO PLAY-ALONG RECORDINGS
• The blues and the standard should be contrasting tempos, one medium and one medium-up. · For each piece, demonstrate your ability to accompany a soloist and take an improvised solo.
• Walk a bass line in 2 and in 4 for the blues and the standard.
• Play the melody for at least two of the pieces.

In addition, a solo classical etude played with the bow may be included if you wish but is not required.

Electric bass players may perform the optional etude without the bow.

Voice and any other instruments:

Choose 3 pieces from these 4 categories (maximum one tune from each):

• A blues
• A ballad
• A jazz standard
• An original composition

Live

MMUS

• Create a 20 minute mini-concert of pieces which includes the standard jazz repertoire plus 2-3 original pieces (minimum of 1 original is required).
• Choose material that you are comfortable playing and that showcases your musicianship and technical proficiency.
• Drummers: Bring your own cymbals, felts, cymbal sleeves, hi-hat clutches!

GDP

• Supply lead sheets for the live rhythm section in order to avoid harmonic discrepancies.
• Perform one of the three original compositions submitted with your application.
• Choose material that you are comfortable playing and that showcases your musicianship and technical proficiency.
• Drummers: Bring your own cymbals, felts, cymbal sleeves, hi-hat clutches!

Recorded

• Perform five pieces of various tempos and styles from the standard jazz repertoire, including a ballad and up-tempo “rhythm changes” tune.
• Perform an original composition.
• All instruments: performances must be accompanied by live musicians.

MMUS ONLY:

In addition, please follow the requirements below for your respective instrument if listed.

• Brass: A classical étude
• Piano: One jazz standard of the five required can be a solo piano piece (this appreciated but not required)
• Drums: At least three of the five jazz standards should have a swing feel
• Bass: For each piece, demonstrate your ability to accompany a soloist and take an improvised solo. Play the melody for at least two of the pieces. In addition, a solo classical etude played with the bow may be included if you wish but is not required. Electric bass players may perform the optional etude without the bow.

Screening

• N/A

Live

MMUS

Prepare 60 minutes of recital repertoire. Include:

• Two contrasting movements of a Bach Trio Sonata or a Trio from the Leipzig collection or Klavierübung III collections.
• One major Prelude and 1 Fugue by J.S. Bach.
• The remaining repertoire should include pre-Bach, romantic and contemporary selections.

PG Art. Dip, GDP

Select one of the options below:

• Option 1:
  Prepare 60 minutes of recital repertoire. Include a major work by J.S. Bach as well as pre-Bach, romantic and contemporary selections. You can choose between a mechanical action or electric action instrument. You can also present on two different instruments. You can use a registration assistant at the mechanical action console, but you should do your own registration at the electric console. 
• Option 2:
  Focus on one specialized part of the organ repertoire, such as North German Baroque, French romantic music or a specific composer, such as Bach or Messiaen. In this case, you can choose to only perform works that are consistent with your desired specialization.

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

• Be prepared to demonstrate ability on all basic percussion instruments, i.e., timpani, keyboard percussion, snare drum, multiple percussion. Prepare a minimum of 30 minutes of material. Prepare to sight-read.
• If you are auditioning on campus (which is preferred) and your percussion solos require a large setup, you can submit videos of them to the Percussion Area Coordinator in advance of your audition.

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

• You must demonstrate ability on all basic percussion instruments, i.e., timpani, keyboard percussion, snare drum, multiple percussion. You can submit multiple recordings of percussion solos to the Percussion Area Coordinator in advance of your live audition.
• Prepare 40 minutes of solo material or, if your focus is on chamber music or orchestral repertoire, prepare 20 minutes of solo material and 20 minutes of complementary material (20 minutes of orchestral excerpts or 20 min of recorded chamber music).
• Prepare to sight-read.

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

1. Prepare one selection, memorized, from the solo piano repertoire (your choice). It should be from a major composer and at least 8 minutes long.

2. Prepare selections from two of the following three Collaborative Concentrations:

Instrumental: A violinist will be provided by the School. Prepare the piano part from one of the following excerpts:

• Beethoven, Violin Sonata No. 7, c minor, 1st movement, Allegro con brio
• Brahms, Violin Sonata No. 2 in A, Op. 100, 1st movement, Allegro amabile
• Franck, Violin Sonata in A, 2nd movement, Allegro 

Vocal: A singer will be provided by the School. Prepare the following songs:

• Franz Schubert, Ganymed
• Johannes Brahms, Meine Liebe ist grün
• Claude Debussy, Il pleure dans mon coeur
• Richard Strauss, Allerseelen
• Samuel Barber, St. Ita's Vision 

Opera: The operatic excerpts should be sung in the original language while playing the orchestral reduction from any standard piano/vocal score. Prepare:

• Any Aria from Mozart’s Le Nozze di Figaro and "Sein wir wieder gut” from Strauss’ Ariadne auf Naxos,

or

• “Here I Stand” from Stravinsky’s The Rake’s Progress

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

Prepare 40 minutes of memorized solo recital material from major composers (see below). Include:

• One or more movements of a sonata (or a set of variations) from the 18th/early 19th century, e.g., Haydn, Mozart, Beethoven, Schubert.
• One piece in a romantic style from the 19th century, e.g., Mendelssohn, Chopin, Schumann, Liszt, Brahms.

One or more selections from these options: 

• A 17th/18th century piece, e.g., Bach, Scarlatti, Rameau, Handel, Couperin.
• A piece from the end of the 19th/early 20th century, e.g., Fauré, Debussy, Ravel, Albeniz, Schoenberg, Reger, Scriabin, Berg, Rachmaninoff, Franck.
• A 20th century piece (up to c.1950), e.g., Bartok, Webern, Hindemith, Stravinsky, Prokofieff, Messiaen. 
• A contemporary piece, e.g., Stockhausen, Boulez, Berio, Xenakis, Mather, Cherney, Tremblay (memorization for this category is optional)

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

Post-Graduate Artist Diploma Audition requirements for applicants who completed or are in the process of completing a Graduate Diploma in Performance (GDP)

• Prepare a 60 minute recital program. 
• Include works from major composers covering a range of styles, genres, and periods , with at least one piece from the 19th century (e.g., Mendelssohn, Chopin, Schumann, Liszt, Brahms).
• Feature music from the repertoire area in which you wish to focus your major performance.
• The panel may choose to hear complete works and/or excerpts.
• Memorization is required except for the pieces written after 1960.

Post-Graduate Artist Diploma Audition requirements for applicants who have not completed a Graduate Diploma in Performance. 
Prepare 60 minutes of memorized solo recital material from major composers (see below). Include:

• One or more movements of a sonata (or a set of variations) from the 18th/early 19th century, e.g., Haydn, Mozart, Beethoven, Schubert.
• One piece in a romantic style from the 19th century, e.g., Mendelssohn, Chopin, Schumann, Liszt, Brahms.

One or more selections from these options:

• A 17th/18th century piece, e.g., Bach, Scarlatti, Rameau, Handel, Couperin.
• A piece from the end of the 19th/early 20th century, e.g., Fauré, Debussy, Ravel, Albeniz, Schoenberg, Reger, Scriabin, Berg, Rachmaninoff, Franck.
• A 20th century piece (up to c.1950), e.g., Bartok, Webern, Hindemith, Stravinsky, Prokofieff, Messiaen.
• A contemporary piece, e.g., Stockhausen, Boulez, Berio, Xenakis, Mather, Cherney, Tremblay (memorization for this category is optional)

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

For cello, prepare (memorized):

• One study by either Servais or Piatti.
• The prelude and two other contrasting movements of a Suite by J.S. Bach.
• A fast and a slow movement from any classical, romantic or modern concerto.

For double bass prepare:

• One movement from a Suite by J.S. Bach.
• A complete concerto.
• A contemporary work.
• 4 orchestral excerpts.

For viola, prepare (memorized):

• One caprice by Campagnoli.
• The prelude and two other contrasting movements of an unaccompanied Suite by J.S. Bach.
• A fast and slow movement from a major concerto from the 20th or 21st century, selected from one of the following works:
  - Bartók
  - Walton
  - Hindemith (Der Schwanendreher or Kammermusik No. 5)
  - Bloch (1919 Suite)
  - Martinů (Rhapsody Concerto)
  - Penderecki
  - Schnittke

For violin, prepare (memorized):

• A complete major concerto from the 19th or 20th century.
• Two contrasting movements from the solo sonatas and partitas by J.S. Bach.
• A Paganini caprice

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

Cello

• Prepare a 60-minute program of repertoire
• Include one study by either Servais or Piatti.
• Include the prelude and two other contrasting movements of a Suite by J.S. Bach.
• Include a fast and a slow movement from any classical, romantic or modern concerto.
• Fill the remaining time with repertoire of your choice.
• Concerto and unaccompanied Bach to be played from memory.

Double Bass

• Prepare a 60-minute program of repertoire
• Include one movement from a Suite by J.S. Bach.
• Include a concerto.
• Include a contemporary work.
• Include 4 orchestral excerpts.
• Fill the remaining time with repertoire of your choice.

Viola

• Prepare a 60-minute program of repertoire.
• Include one caprice by Campagnoli.
• Include the prelude and two other contrasting movements of an unaccompanied Suite by J.S. Bach.
• Include a fast and a slow movement from a major concerto.
• Fill the remaining time with repertoire of your choice.
• Concerto and unaccompanied Bach to be played from memory.

Violin

• Prepare a 60-minute program of repertoire.
• Include a complete major concerto from the 19th or 20th century.
• Include two contrasting movements from the solo works by J.S. Bach.
• Include a Paganini caprice.
• Fill the remaining time with repertoire of your choice.
• Concerto, unaccompanied Bach and Paganini to be played from memory.

Recorded

• The repertoire for on-campus and recorded auditions is the same.

Screening

As of September 2023, screening is no longer required for this program.

Live

Prepare a varied 30-min program, to include 4 languages that includes, but is not limited to, art song and opera. All repertoire should be performed from memory.

Recorded

The repertoire for on-campus and recorded auditions is the same.

Screening

As of September 2023, screening is no longer required for this program.

Live

Prepare a varied 60-min program, to include 4 languages that includes, but is not limited to, art song and opera. All repertoire should be performed from memory.

Recorded

The repertoire for on-campus and recorded auditions is the same.

Screening

• N/A

Live

Woodwind instruments: MMus, PG ArtDip and GDP: 

Post-Graduate Artist Diploma: Prepare 60 minutes of repertoire. Repertoire may include solo repertoire from various musical periods, orchestra excerpts, and études.

MMus and GDP: Prepare 30 minutes of Repertoire. Repertoire may include solo repertoire from various musical periods, orchestra excerpts, and études.

Recorded

• The repertoire for on-campus and recorded auditions is the same.