If the work is a concerto, a single movement is sufficient. Prepare a work of your choice and one complete work by Bach, Mozart, or Handel. Prepare an Etude or Caprice by Anderson, Berbiguier or Karg Elert.
Prepare either: Exercise EJ#4, in its entirety, from Taffanel-Gaubert - 17 Grands Exercises Journaliers de Mecanisme - or - a complete exercise from Reichert - Seven Daily Exercises, op.5. A solo such as Andante and Allegro by Barat, or Sonatina by Hutchinson. A technical etude from Tyrell, Kopprasch or Arbans. An etude from Rochuet/Bordogni Melodious Etudes or equivalent. Major scales A flat, D flat, G flat, B and chromatic scale through two octaves. An etude of the applicant's choice, representing the highest level of technical achievement two compositions of the applicant's choice, at least of the difficulty level of the Eccles Sonata, or a concerto first movement an orchestral excerpt, Mozart or Beethoven are recommended. Three two-octave scales and one three-octave scale. One solo piece such as: Mozart Concerto, concerti by Weber or Stamitz, Osborne Rhapsody, Stravinsky 3 Pieces, or any work equivalent in difficulty. Two etudes of contrasting styles from Rose 32: one demonstrating technical development, the other demonstrating lyricism. Any scale starting on E, F, F#/Gb, or G should be 3 octaves, all others 2 octaves only. ClarinetĪll major and melodic minor scales. Three octave major and harmonic minor scales through four sharps and four flats an etude of the applicant's choice a first movement of a concerto, such as Haydn C Major or Boccherini Bb Major, or a work of comparable difficulty a movement of a J.S. A solo work demonstrating maturity as a musician: inclusion of both fast and slow movements preferred. Major and harmonic minor scales through four sharps and four flats an etude that provides a good representation of technical development such as one of the Weissenborn Advanced Studies. Audition Requirements by Instrument Bassoon Questions may cover your short-term and long-term goals, why you want to be a music teacher, how you manage your time, and your non-musical interests. In addition to the primary instrument audition, Music Education applicants will interview with a professor either in person or via a video call. Please email PDFs and audio files (mp3) to Music Education Interview An interview with the composition faculty is also required. Compositions will be evaluated based on the following criteria: originality, musical interest, quality of instrumental/vocal writing, and accuracy of notation. mus format, and recordings that are submitted electronically must be in. Scores that are submitted electronically must be in either. In addition to the primary instrument audition, composition applicants should submit a portfolio of three to four original compositions (no arrangements), preferably with recordings. Composition & Music Ed Majors Only Composition Portfolio Interviews may include sight-reading/singing, faculty may request examples of technique (scales, arpeggios), singers may be asked to read or discuss repertoire submitted. Interviews are required for all Composition and Music Education applicants, and highly encouraged for all others. Memorization is required for Piano and Voice auditions and recommended for all others.įollowing submission of recorded audition, applicants can expect to be contacted to schedule an interview (held virtually) with a Conservatory faculty member. Repertoire equivalent in difficulty is acceptable.
The requirements that follow are for Performance Majors (levels adjusted for other music degrees).
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