Music Auditions Requirement

Undergraduate Music Audition Requirements
Graduate Music Audition Requirements

Undergraduate Music Audition Requirements

BRASS I COMPOSITION I GUITAR I HARP I PERCUSSION
PIANO I STRINGS I VOICE I WOODWINDS

In-Person Auditions

Note: Instrumental auditions must be performed without accompaniment.

BRASS

(Trumpet, French Horn, Trombone, Bass Trombone, Euphonium, Tuba)
* Instrumental auditions must be performed without accompaniment.

An étude;
Two movements of contrasting nature and tempi from a sonata or concerto;
Please prepare all major scales and arpeggios;
Possible sight-reading.

COMPOSITION

Submission of a portfolio of between two and five works (no more), at least one of which must be for two or more instruments, and at least two of which were written in the last three years.
Scores should be legibly notated (by hand or by computer) photocopied (double-sided) and bound;
Recordings of your work are encouraged;
Make sure that there is an accompanying score for each submitted recording;
Write a short essay describing your musical influences and enthusiasms and what you hope to achieve as a composer;
Applicants may be asked to interview, in which case an in-person interview is required.

*Please do not send originals. All portfolios and recordings submitted become the property of The Boston Conservatory and cannot be returned.

GUITAR
*Instrumental auditions must be performed without accompaniment.
All selections must be performed from memory:

An étude;
Two contrasting movements from two different major works (e.g. Bach, Barrios, Bennet, Britten, Walton, Ginastera, Brouwer, Martin, Takemitsu, etc.).

HARP
*Instrumental auditions must be performed without accompaniment.

An étude or technical study;
Two single-movement pieces of contrasting mood;
Two orchestral excerpts and two orchestral cadenzas.

PERCUSSION
*Instrumental auditions must be performed without accompaniment.

Applicants must demonstrate proficiency in the areas described below:

Snare Drum:
Perform both of the following, totaling about four minutes:

Rudimental solo. Suggested composers: Pratt, Campbell, Wilcoxon.
Concert étude. Suggested composers: Aleo, Peters, Cirone, Délécluse.

Mallets (xylophone, marimba, vibraphone—your choice)
Perform both of the following, totaling at least four minutes:

Two-mallet solo. Suggested composers: Bach (preferably from Sonatas and Partitas for Unaccompanied Violin OR Suites for Unaccompanied Cello), Kreisler, Abe, Green;
Four-mallet solo. For suggestions, see "Recommended Solos" at www.nancyzeltsman.com.

Timpani
Perform following, totaling about three minutes:

Solo piece for four drums, about three minutes in duration. Demonstrate technical proficiency with pitch matching and interval tuning. Suggested composers: Firth, Carter, Delécluse, Lepak, Macarez, Woud.

PIANO
* All works are to be performed from memory.

Baroque: a prelude and fugue from the Bach Well-Tempered Clavier or an equivalent Baroque work;
Classical: a complete sonata in traditional form, or comparable work;
Romantic: a major work of the applicant’s choice;
20th Century: a work by a major composer such as Bartók, Ravel, Prokofiev, Copland, lves, Schoenberg or Messiaen.

**Note: All recorded auditions must be in the form of a DVD. Audio recordings will not be accepted. There must be a visual representation of the pianist in order to be considered for admission.

STRINGS
(Violin, Viola, Cello, Double Bass)
* Instrumental auditions must be performed without accompaniment.

An étude or technical study;
Two movements of unaccompanied Bach. Bass players may substitute with another work of their choice.
A complete movement from the standard concerto repertoire;
Using the Schott or International Edition Orchestral Excerpt books: select one excerpt from a Mozart Symphony and one excerpt from any Romantic-period orchestral work.
Please prepare all major and minor scales(minimum 4 notes slurred per bow) and arpeggios (3 notes slurred per bow).
There will be a brief rhythmic/ear-training evaluation at the Boston audition.
Recorded auditions: Please include the orchestral excerpts as well as one major and one minor scale and arpeggio of your choice.

VOICE

All female voice applicants require the submission of a prescreen recording (CD only, in a standard plastic jewel case or sleeve) by the December 1st application deadline. Applicants must mail the CD directly to the Office of Admissions. CDs must be clearly labeled with your full name and voice part. Please make sure to include a list of the repertoire performed on the CD. We suggest that you attach the list to the inside of the CD case. This recording should include representative pieces which fulfill the audition requirements, but they do not have to be the repertoire you plan to sing for your audition.

For auditions in Boston at The Boston Conservatory an accompanist will be provided. For regional auditions voice applicants must provide their own accompanist. Pre-recorded accompaniment is not allowed.

* All works are to be performed from memory.

Applicants must be prepared to perform all of the following:
—An Italian art song from the 17th or 18th century
—An art song in German or French
—An art song in English (not in translation)

* No operatic arias please.

WOODWINDS(Bassoon, Clarinet, Flute, Oboe, Saxophone)
* Instrumental auditions must be performed without accompaniment.
**If you are submitting a recorded audition, please make sure that there is no accompaniment and that the recording has not been edited and does not contain reverb.

—An étude
—Two movements of a contrasting nature from a sonata or concerto

Graduate and Post-Graduate Music Audition Requirements

BRASS I CHORAL CONDUCTING I COLLABORATIVE PIANO I COMPOSITION
GUITAR I HARP I MARIMBA I MUSIC EDUCATION I
ORCHESTRAL CONDUCTING I PERCUSSION I PIANO
STRINGS I VOCAL PEDAGOGY I VOICE I OPERA I WOODWINDS

In-Person Auditions

Note: Instrumental auditions must be performed without accompaniment.

Artist Diploma Audition Requirements

Artist Diploma Applicants are required to submit a preliminary audition recording (CD or DVD) that should demonstrate a high level of musical and technical artistry:

Instrumentalists should prepare 20 minutes of contrasting material from the standard repertoire for your instrument.
The voice department requires a preliminary recording consisting of no less than 10 minutes of music, including song literature in English, Italian, German and French, as well as one oratorio or operatic aria in the original language.

Based on the review of the recording, applicants may be contacted with an invitation to perform a live audition for the program at The Boston Conservatory. Those invited to audition for the Artist Diploma Program must prepare a full-length recital program including a concerto (instrumentalists only). Accompanists are required for all Artist Diploma Program auditions, and are not provided by The Boston Conservatory. The deadline for all Artist Diploma Program applications and supporting materials is December 1. Please send all materials to: The Boston Conservatory, Katy Giorgio, 8 The Fenway, Music Division, Boston, MA, 02215.

BRASS
(Trumpet, French Horn, Trombone, Bass Trombone, Tuba)
* Instrumental auditions must be performed without accompaniment.

Two movements of contrasting nature from the solo repertoire, and three (3) orchestral excerpts. Please prepare all major and minor scales and arpeggios and also be prepared to sight-read. Recorded auditions should include one major and two minor scales and arpeggios of your choice. You may choose from the suggested solo repertoire below or make your own choices at a similar level of difficulty: Please play the listed excerpts.

Trumpet
Suggested Repertoire:

Haydn: Concerto
Hindemith: Sonata

Orchestral Excerpts:

Beethoven: Leonore (No. 2 and No. 3)
Stravinsky: Petrushka (Ballerina’s Dance)
Mussorgsky: Pictures at an Exhibition

French Horn
Suggested Repertoire:

Mozart: Horn Concerto No. 2, 3 or 4
Strauss: Horn Concerto No. 1 or 2
Gliere: Horn Concerto

Orchestral Excerpts:

Strauss: Opening solo from Til Eulenspiegel
Tchaikovsky: Symphony No. 5, 2nd Movement solo
Shostakovich: Symphony No. 5, 1st Movement, Horn 1, Rehearsal 17-21

Trombone
Suggested Repertoire:

Martin: Ballade
Milhaud: Concerto d’Hiver
Tomasi: Concerto

Orchestral Excerpts:

Mozart: Tuba Mirum
Ravel: Bolero
Berlioz: Hungarian March

Bass Trombone
Suggested Repertoire

Ewazen: Concerto
T.R. George: Concerto

Orchestral Excerpts:

Beethoven: Symphony no. 9
Strauss: Ein Heldenleben
Wagner: The Ride of the Valkyries

Tuba
Suggested Repertoire:

Hindemith: Sonata
Vaughan Williams: Concerto

Orchestral Excerpts:

Wagner: Ride of the Valkyries
Prokofiev: Symphony No. 5
Berlioz: Symphonie Fantastique

CHORAL CONDUCTING
Applicants must submit a pre-screening DVD with the following:

A rehearsal and a performance;
A repertoire list;
Two letters of recommendation from two artist/teachers who can most fully discuss your potential in the field of choral conducting;
Applicant should also provide a self-assessment of piano skills and experience with languages (Latin, German, French).

Applicants may be invited to audition and interview at The Boston Conservatory based on an evaluation of the materials submitted above, as well as submission of a complete application. During auditions, applicants will be asked to:

Rehearse with The Boston Conservatory Chorale for 1/2 hour. During this 1/2 hour, the applicant should expect to:
- Do a brief warm-up.
- Conduct a complete work or movement from a larger work that the Chorale is preparing for its spring performance.This year it will be Movements 7, 10 and 22 of Carmina Burana.
- Introduce a work or a section of a work of the applicant’s choosing, approved by Dr. Cutter, Director of Choral Programs at The Boston Conservatory.
Interview with Dr. Cutter (1 hour). During the interview— an informal chat about conducting experience and goals—the candidate will be asked to:
- Demonstrate piano skills by playing a prepared piano piece of your choosing.
- Play open score (SATB) at the level of a Bach chorale.
- Aurally identify intervals, scales, triads and harmonic progressions.
- You may also perform on your major instrument if you would like to.

COLLABORATIVE PIANO

Piece(s) for solo piano (or section of a larger work) totaling about 10 minutes in length.
Sonata in A major for violin and piano of Cesar Frank, movements one and two, to be performed with a violinist provided by the Conservatory
The following songs, all in original keys, to be performed with a singer provided by the Conservatory:
- Debussy: Extase from Ariettes Oubliées
- Schubert: Ganymede
- Strauss: Allerseelen
Sight reading

COMPOSITION

Submission of a portfolio of between three and six works (no more)—at least one of which must be for large ensemble or orchestra—showing an advanced level of compositional experience
Scores should be legibly notated (by hand or by computer), photo copied (double-sided) and bound.
Recordings of your works are encouraged.
Make sure that there is an accompanying score for each submitted recording.
Write a short essay describing your musical influences and enthusiasms and what you hope to achieve as a composer.
Applicants may be asked to interview, in which case an in-person interview is required.

An étude;
Two contrasting movements from two different major works (e.g. Bach, Barrios, Bennet, Britten, Walton, Ginastera, Brouwer, Martin, Takemitsu, etc.)

HARP
*Instrumental auditions must be performed without accompaniment.

An étude or technical study;
Two single-movement pieces of contrasting mood;
Two orchestral excerpts and two orchestral cadenzas.

MARIMBA
*Instrumental auditions must be performed without accompaniment.

On marimba, perform three works of contrasting styles totaling a minimum of 20 minutes. At least two of these must utilize four mallets; one or two must have been composed since 1970. Adaptations by the applicant are welcome; creativity in repertoire selection is encouraged. For suggestions, see "Recommended Solos" at www.nancyzeltsman.com.

The applicant should be prepared to sight-read.

Applicants must also demonstrate bachelor’s degree-level proficiency on timpani and snare drum.

MUSIC EDUCATION
Master of Music in Music Education (MMED) and
Graduate Diploma in Music Education (GDME):

Complete an interview with the Chair of the Music Education Department.
Demonstrate your musicianship on an instrument. If your undergraduate degree is not in music performance or composition, you will be required to present a live audition for the chair of the music education department. International applicants may present recorded auditions by special request. If your undergraduate degree is in music performance or composition, you will not be required to present an audition. If your undergraduate degree is in music education, you will be required to audition. The audition should consist of 5 minutes of your choice of music to demonstrate your musicianship. Auditions and interviews are conducted at the same appointment.
Submit your artistic/professional resumé.
Submit two letters of recommendation.
Write a short essay about how you became interested in music education.

ORCHESTRAL CONDUCTING
Applicants must submit the following:

A resumé highlighting the applicant’s performing, conducting and educational experience;
A repertoire list of compositions conducted in performance and/or rehearsal;
Two artistic letters of recommendation from teachers or faculty who have observed the applicant conducting;
A 30-minute DVD of the applicant conducting any instrumental ensemble in rehearsal—any repertoire. The recording camera should be facing the conductor;
A 15-minute audio recording of the applicant performing recently prepared repertoire on the applicant’s primary instrument/voice.

Conduct The Boston Conservatory Orchestra in this repertoire:
1. Dvorak- Slavonic Dances op. 46, Nos. 1, 2, 3, 4
2. Beethoven- Egmont Overture
3. Tchaikovsky- Violin Concerto: First movement only
Demonstrate proficiency in orchestration, score analysis, sight singing, ear training and dictation, repertoire and standard terminology in English, French and Italian.

Rudimental solo. Suggested composers: Pratt, Campbell, Wilcoxon.
Concert étude. Suggested composers: Aleo, Peters, Cirone, Délécluse.

Mallets (xylophone, marimba, vibraphone—your choice)
Perform both of the following, totaling at least four minutes:

Two-mallet solo. Suggested composers: Bach (preferably from Sonatas and Partitas for Unaccompanied Violin OR Suites for Unaccompanied Cello), Kreisler, Abe, Green.
Four-mallet solo. For suggestions, see "Recommended Solos" at www.nancyzeltsman.com.

Timpani
Perform following, totaling about three minutes:

Solo piece for four drums, about three minutes in duration. Demonstrate technical proficiency with pitch matching and interval tuning. Suggested composers: Firth, Carter, Delécluse, Lepak, Macarez, Woud.

Graduate percussion applicants must also be prepared to perform:

Basic orchestral excerpts;
Sight-reading on all the above instruments.

PIANO
*All works are to be performed from memory.
Applicants must prepare all of the following:

Baroque: a prelude and fugue from the Bach Well-Tempered Clavier or an equivalent Baroque work;
Classical: a complete sonata in traditional form, or comparable major work (i.e., Beethoven “Eroica” Variations);
Romantic: a major work of the applicant’s choice;
20th Century: a significant work by a major composer such as Bartók, Debussy, Ravel, Prokofiev, Copland, lves, Schoenberg or Messiaen

**Note: All recorded auditions must be in the form of a DVD. Audio recordings will not be accepted.

STRINGS
(Violin, Viola, Cello, Double Bass)
*Instrumental auditions must be performed without accompaniment.

An étude or technical study;
Two movements of unaccompanied Bach;
A complete movement from the standard concerto repertoire;
A work of the applicant’s choice (a 20th century work is recommended);
Using the Schott or International Edition Orchestral Excerpt books: select two excerpts from the symphonies of Mozart #35–41 and two excerpts from a Brahms symphony.
There will be a brief rhythmic/ear-training evaluation at the Boston audition.
Please prepare all major and minor scales (minimum 4 notes slurred per bow) and arpeggios (3 notes slurred per bow).
Recorded auditions: Please include the orchestral excerpts as well as one major and one minor scale and arpeggio of your choice.

VOCAL PEDAGOGY

There is a pre-screening requirement for all female applicants to the Vocal Pedagogy degree program.

Applicants must be prepared to perform all of the following:
—An Italian art song
—An art song in either French or German
—An art song in English (not a translation)
—Optional: an aria from an opera or oratorio
—Optional: a popular song or a song from a musical theater show

In addition each applicant will have a private interview at the end of the day with Kevin Wilson and either the Chair of Voice and Opera or a designated member of the Voice Faculty.

VOICE

All female voice applicants require the submission of a prescreen recording (CD only, in a standard plastic jewel case or sleeve) by the December 1st application deadline. Applicants must mail the CD directly to the Office of Admissions. CDs must be clearly labeled with your full name and voice part. Please make sure to include a list of the repertoire performed on the CD. We suggest that you attach the list to the inside of the CD case. This recording should include representative pieces which fulfill the audition requirements, but they do not have to be the repertoire you plan to sing for your audition.

For auditions in Boston at The Boston Conservatory an accompanist will be provided. For regional auditions voice applicants must provide their own accompanist; pre-recorded accompaniment is not allowed.

*All works are to be performed from memory.

Applicants must be prepared to perform all of the following:
—An Italian art song
—An art song in German
—An art song in French
—An art song in English (not a translation)
—Optional: an aria from an opera or oratorio

OPERA

*All works are to be performed from memory.

Applicants must be prepared to perform all of the following:
—Three arias in contrasting styles and languages
—An art song in English (original language, not in translation)
—An art song in Italian, French, or German

WOODWINDS
(Flute, Optional Piccolo, Oboe, Optional English Horn, Clarinet, Bassoon, Saxophone)

*Instrumental auditions must be performed without accompaniment.
**If you are submitting a recorded audition, please make sure that there is no accompaniment and that the recording has not been edited and does not contain reverb.

Two movements of contrasting nature from the solo repertoire and two orchestral excerpts—suggested repertoire is as follows:

Flute

Suggested Repertoire:
—Prokofiev Sonata
—Poulenc Sonata
—Mozart Concerto

Orchestral Excerpts:
—Beethoven: Leonore Overture
—Brahms: 4th Symphony
—Mendelssohn: A Midsummer Night’s Dream, Scherzo

Optional Piccolo

Suggested Repertoire:
—Vivaldi Piccolo Concerto

Orchestral Excerpts:
—Beethoven: Symphony No. 9
—Rossini: Semiramide Overture

Oboe

Suggested Repertoire:
—Mozart Concerto
—Vaughan-Williams Concerto
—Ferling Études
—Barrett Étude

Orchestral Excerpts:
—Bartók: Concerto for Orchestra
—Beethoven: 3rd Symphony
—Rossini: La Scala di Seta Overture

Optional English Horn

Suggested Repertoire:
—Donizetti Concertino

Orchestral Excerpts:
—Berlioz Roman: Carnival Overture
—Dvôrák: New World Symphony (Largo)
—Debussy: Nocturnes, Fetes

Clarinet

Suggested Repertoire:
—Mozart Concerto
—Weber: either Concerto

Orchestral Excerpts:
—Mendelssohn: A Midsummer Night’s Dream, Scherzo
—Rimsky-Korsakov: Capriccio Espagnol
—Beethoven: Symphony No. 6, Second movement

Bassoon

Suggested Repertoire:
—Mozart Concerto

Orchestral Excerpts:
—Beethoven: 4th Symphony
—Strauss: Don Juan
—Stravinsky: Rite of Spring

Saxophone

Suggested Repertoire:
—A movement from the standard concerto repertoire
—A movement from the standard sonata repertoire
—A work of the applicant’s choice (new music or transcription)

Orchestral Excerpts:
—Milhaud: Creation of the World
—Mussorgsky/Ravel: Pictures at an Exhibition (Available in “The Orchestral Saxophonist”, volumes 1 and 2, published by RonCorp, Cherry Hill, NJ)

Multi- Woodwind

**This major requires a pre-screening CD. Please make sure that there is no accompaniment and that the recording has not been edited and does not contain reverb.

The recording should represent ability on three different woodwind family instruments. The three instruments studied must include a minimum of 3 instrumental families (i.e. no multi clarinets, no multi saxes).

For each instrument, the applicant should prepare a standard repertoire Sonata or Concerto from any time period which contains contrasting musical material, and displays the applicants' best work on each instrument. Each recording should supply 5-7 minutes of music for each instrument. NO piano accompaniment, please. Also, please include scales which demonstrate your complete range on all three instruments.

Selected applicants will then attend a live audition at The Boston Conservatory in February. Each applicant must be accepted on all three instruments by faculty in order to gain acceptance to the Multi-Woodwind Graduate program.

The Boston Conservatory
8 The Fenway, Boston, MA 02215, USA
P: (617) 536-6340
F: (617) 912-9101