Undergraduate Music Audition Requirements
Graduate Music Audition Requirements

Undergraduate Music Audition Requirements

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 a contrasting nature and tempi from a sonata or concerto

VOICE
* All works are to be performed from memory.
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.
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.
—An étude
—Two movements of a contrasting nature from a sonata or concerto


Graduate Music Audition Requirements

In-Person Auditions

Note: Instrumental auditions must be performed without accompaniment.

BRASS
* Instrumental auditions must be performed without accompaniment.
Two movements of contrasting nature from the solo repertoire, and
orchestral excerpts. Please prepare all major and minor scales and arpeggios. Recorded auditions should include one major and one minor arpeggio of your choice. Suggested repertoire is as follows:

Trumpet
Solo 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
Solo Repertoire:
—Dukas Villanelle
—Mozart Concerto Rondo
Orchestral Excerpts:
—Strauss: Opening solo from Til Eulenspiegel
—Tchaikovsky: Symphony No. 5, 2nd Movement solo

Trombone
Solo Repertoire:
—Martin Ballade
—Milhaud Concerto d’Hiver
—Tomasi Concerto
Orchestral Excerpts:
—Mozart: Tuba Mirum
—Ravel: Bolero
—Berlioz: Hungarian March

Bass Trombone
Solo Repertoire:
—Ewazen Concerto
—T.R. George Concerto
Orchestral Excerpts:
—Beethoven: Symphony no. 9
—Strauss: Ein Heldenleben
— Wagner: The Ride of the Valkyries

Tuba
Solo 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 the following:
—A video and audio recording of a rehearsal or performance.
—A repertoire list.
—Two letters of recommendation.
—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:
1. Do a brief warm-up.
2. Conduct a complete work or movement from a larger work that the Chorale is preparing for its spring performance. This piece will be chosen by the applicant with approval from Dr. Cutter, Director of
Choral Programs at The Boston Conservatory.
3. Introduce a work or a section of a work of the applicant’s choosing, approved by Dr. Cutter.

—Interview with Dr. Cutter (1 hour). During the interview— an informal chat about conducting experience and goals—the candidate will be asked to:
1. Demonstrate piano skills by playing a prepared piano piece.
2. Play open score (SATB) at the level of a Bach chorale.
3. Aurally identify intervals, scales, triads, and harmonic progressions.

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 preferred.
—In exceptional circumstances a telephone interview may be arranged.
*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 and
—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 proficiency on an instrument. You may be asked to
present a taped or live (Boston only) audition for the Chair of the Music Education Department.
—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 VHS videotape or DVD of the applicant conducting an 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

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

—Demonstrate proficiency in orchestration, score analysis, sight singing, ear training & dictation, repertoire, and terminology (languages).

RECORDED AUDITION REQUIREMENTS
—Applicants who send a recorded audition are required to supply a written statement along with the recording stating that the performance is their own and has been performed without editing.