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Doctor of Musical Arts Audition Dates, Pre-Screening and Live Audition Repertoire for Fall 2015

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Audition Dates

  • All auditions for the Music Division take place in New York, at The Juilliard School. The School does not accept video auditions, under any circumstances.
  • 2015 Music Auditions week runs from Sunday, March 1 to Friday, March 6, 2015. No auditions will be scheduled outside of these dates, under any circumstances (excepting Historical Performance, see below).
  • All audition dates are subject to change and/or cancellation due to faculty availability.
  • The DMA audition process will take at least two days (three for composers). In general, applicants should plan to be available for the entire day following the scheduled audition date. Applicants must be available for all portions of the audition process in order to be considered for admission.
  • Audition dates and times are assigned by the Office of Admissions. Applicants to departments which have multiple audition dates may have the opportunity to request preferred dates among those listed. Admissions will contact non-pre-screened majors in December, and pre-screened majors (those applicants who pass pre-screening) in January to advise further. Doctoral applicants should avoid auditioning on Friday, March 6, unless that is the only day available for their specific majors.
  • Applicants should not make travel arrangements until their audition dates are confirmed in writing, via e-mail, by the Office of Admissions.

 

Department 2015 Audition Dates (some Dates TBD*)
Bassoon* 1 day during audition week
Bass Trombone* 1 day during audition week
Cello March 2, 3, & 4
Clarinet* 2 - 3 days during audition week
Collaborative Piano* 2 days during audition week
Composition* Composition Exam: 1 day during audition week
Composition Interviews: 2 days immediately following the exam
Double Bass* 1 day during audition week
Flute March 1 & 2
Harp* 2 days during audition week
Historical Performance New York Only: February 27, 28, and March 1
Horn* 2 days during audition week
Oboe* 2 days during audition week
Organ* Organ Dinner: 1 day during audition week
Auditions: 2 days immediately following the dinner
Percussion* 3 - 4 days during audition week
Piano March 1 - 6
Trombone* 1 day during audition week
Trumpet* 2 days during audition week
Tuba* 1 day during audition week
Viola March 2, 3, & 4
Violin March 2 - 6
Voice March 1, 2, & 3

*TBD Dates: we anticipate needing the number of days indicated in affected departments but have not yet been able to confirm faculty availability for specific dates. We hope to have all dates confirmed by December 1, 2014. Please check back over the coming weeks.

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Pre-Screening (if applicable) and Live Audition Repertoire

Bassoon

  1. A full recital program which should reach a minimum of 60 minutes.
  2. Ten standard orchestral excerpts.

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Brass (Bass Trombone and Tuba, Tenor Trombone, Trumpet)

Bass Trombone and Tuba

  1. Two etudes showing the applicant’s level of technical and musical advancement.
  2. At least one major solo of the applicant’s choice.
  3. A complete concerto from the standard repertoire.
  4. Six contrasting standard orchestral excerpts.

Bass Trombone only, Major and minor scales.

Tenor Trombone

  • Tenor Trombone is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students) must submit pre-screening audio-visual recordings through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio-visual recording must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.

Pre-Screening Repertoire

The repertoire for pre-screening is the same as the live audition repertoire below.

Live Audition Repertoire

  1. B-flat, C, and D Major and minor (harmonic) scales, played in two octaves (detached), starting from low B-flat, C, and D, all in the staff in bass clef.
  2. Two etudes showing the applicant’s level of technical and musical advancement.
  3. At least one major solo of the applicant’s choice.
  4. A complete concerto from the standard repertoire.
  5. The following orchestral excerpts:
  • MOZART: Requiem, K. 626 (“Tuba mirum”)
  • ROSSINI: La Gazza Ladra
  • RAVEL: Bolero
  • MAHLER 3: 3 measures after #13 to #17.

Trumpet

  1. Two etudes showing the applicant’s level of technical and musical advancement.
  2. At least one major solo of the applicant’s choice.
  3. A complete concerto from the standard repertoire.
  4. Three to five standard orchestral excerpts.

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Cello

  • Cello is a pre-screened major.
  • All applicants (with the exception of current Juilliard students) must submit pre-screening audio recordings through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio recording must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials. However, both the pre-screening and the live audition repertoire must meet the requirements below.

Pre-Screening Repertoire

For pre-screening, applicants must submit from the live audition repertoire:

  • one movement from No. 1, and;
  • No. 2.

Live Audition Repertoire

  1. A complete concerto from the standard cello repertoire, such as Dvorak, Schumann, Haydn D or C, Lalo, Shostakovich, Barber, Herbert, Prokofiev Sinfonia Concertante, Elgar, or Saint-Saëns. Must be performed from memory.
  2. A Bach prelude and one other movement from any Bach suite (the prelude and movement should come from the same suite). Must be performed from memory.
  3. One virtuoso piece such as those listed: Popper Spinning Song or Elfentanz, Paganini Moto Perpetuo, Faure Papillons, Boccherini Sonata L’Imperatrice, Piatti Caprices or Popper Etudes, Davidoff At the Fountain, Schubert Arpeggione Sonata 1st movement, or Tchaikovsky Pezzo Capricioso.
  4. One work composed after 1945 such as works by Carter, Sessions, Dutilleux, Lutoslawski, Penderecki, Shapey, etc. which is 6-8 minutes in length. (The work may be either a complete short piece or a complete movement from a larger work.)
  5. A short lyrical piece such as Saint-Saëns The Swan, Fauré Après un Rêve, Chopin/Popper Nocturne No. 2 in E flat major, Op. 9, No. 2, Mendelssohn Songs Without Words, Chopin Sonata slow movement, Schumann Five Pieces in Folk Style, 2nd movement, Schumann Fantasy Pieces, 1st movement, or the choice of the applicant.
  6. First movement of a Classical or Romantic sonata.

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Clarinet

  1. Two contrasting etudes showing the applicant’s level of technical and musical ability.
  2. At least one major solo of the applicant’s choice. Must be performed from memory.
  3. A complete concerto from the standard repertoire. Must be performed from memory.
  4. A work composed since 1970. This may be a concerto, a work with piano, or one for solo clarinet.
  5. A representative number of standard orchestral excerpts.

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Collaborative Piano

  • Graduate and Post-Graduate levels only. Undergraduate programs are not available in this department.
  • Collaborative Piano is a pre-screened major.
  • Please remember that the quality of your pre-screening recordings may significantly affect the determination of the pre-screening jury. Review your pre-screening recordings before uploading to ensure that they are of good quality.
  • All applicants must submit pre-screening materials through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio-visual recording must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • All applicants must be fluent in spoken English.
  • Once an applicant’s audition program has been submitted, it may not be changed unless notification is received earlier than one month before the audition. All changes must be approved by the department chair.
  • A list of appropriate partners from The Juilliard School will be provided by mid-February.
    • It is necessary to contact your partners as soon as the list is made available. Rehearsals with partners may only be scheduled in the two weeks before the audition period. Applicants must use the partners provided by The Juilliard School.

Pre-screening Materials

  1. Proof of English Language Proficiency, if applicable.
  2. A performance and education résumé or C.V.
  3. A complete repertoire list (instrumental and vocal) in addition to the list of required audition repertoire.
  4. Audio-visual recordings of one movement/song from each of Nos. 1, 2, 3, and 4 of the live audition repertoire (a total of 4 songs/movements).

Live Audition Repertoire

All vocal repertoire must be performed in the original keys unless otherwise stated.

  1. Choose from one of the following:
    1. Beethoven Sonata in C minor, Op. 30, No. 2
    2. Mozart Sonata in B-flat Major, KV. 454
    3. Schubert (prepare complete list)
      • Im Frühling
      • Ganymed
      • Rastlose Liebe
      • Die junge Nonne
      • Versunken
  2. Choose one of the following:
    1. Brahms Violin Sonata in D minor
    2. Chopin Introduction and Polonaise Brillante (International Edition)
    3. Brahms (prepare complete list)
      • Von ewiger Liebe, Op. 43 (high key)
      • Botschaft, Op. 47
      • Wie Melodien zieht es mir, Op. 105 (high key)
      • O komme, holde Sommernacht, Op. 58, No. 4
    4. Wolf (prepare complete list)
      • Ich hab’ in Penna
      • In dem Schatten meiner Locken
      • Die ihr schwebet
      • Bedeckt mich mit Blume
      • Und willst du deinem Liebsten sterben sehen
  3. Choose one of the following:
    1. Fauré Violin Sonata in A Major, Op. 13
    2. Franck Violin Sonata
    3. Debussy Ariettes oubliées (complete)
    4. Poulenc Fiançailles pour rire (complete)
  4. Choose one of the following:
    1. Kreisler Liebesleid, Liebesfreud, and Tambourin Chinois (all three)
    2. Barber Hermit Songs (complete)
  5. Choose one of the following:
    1. Ravel Tzigane
    2. Mahler Ich bin der Welt abhanden gekommen in either E-flat Major or F Major, without a singer
  6. Sight-reading skills to be demonstrated by applicant in vocal and/or instrumental repertoire chosen by the faculty.
  7. A personal interview of the applicant will be conducted by the ­faculty in conjunction with the audition.

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Composition

  • Composition is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students) must submit pre-screening materials through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each portion of each requirement (audio files, PDFs of scores, written statements, and list of compositions/dates performed, as noted below) must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.

Pre-Screening Requirements

  1. Two scores of contrasting styles composed within the last two years. Each score should be circumscribed to present the ten minutes of music which represents your most accomplished work (two ten-minute selections, for a total of twenty minutes).
  2. Recordings which are cued to the same section of music should accompany the scores.
  3. A short written statement which describes the scores or the process of composing the scores.
  4. A complete listing of the applicant’s compositions with orchestrations and dates of performances.

Live Audition Procedures

  1. Selected applicants will be scheduled for personal interviews with the faculty.
  2. Interviews will include a discussion of the scores submitted for the pre-screening.
  3. Applicants must bring scores and CD recordings of the works submitted for pre-screening AND two additional works (scores with CD recordings) to the interviews. Do not bring audio files on flash drives or any other storage method requiring a computer for playback.
  4. All applicants will complete musicianship testing in score analysis, rhythmic dictation, harmonic analysis, counterpoint, and score identification.

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Double Bass

  • Double Bass is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students) must submit pre-screening audio-visual recordings through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio-visual recording must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials. However, both the pre-screening and the live audition repertoire must meet the requirements below.
  • Applicants are expected to bring their own instrument for the audition. We regret that there is no instrument storage available at The Juilliard School for auditioning students.

Pre-Screening Repertoire

For pre-screening, applicants must submit No. 1 and No. 3 from the live audition repertoire. For No. 1, exposition of the first movement only (accompaniment is not required).

Live Audition Repertoire

  1. A complete concerto from the following choices: Dragonetti, Vanhal, Dittersdorf, Bottesini, Koussevitzky. Must be performed from memory.
  2. One 20th-century work composed since 1939. Examples include: Hindemith Sonata, Persichetti Parable, any work by Teppo Hauta-aho, or works of similar difficulty.
  3. Three contrasting orchestral excerpts of the applicant’s choice.

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Flute

  • Flute is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students) must submit pre-screening materials (audio-visual recordings) through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each requirement must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials. However, both the pre-screening and the live audition repertoire must meet the requirements below.

Live Audition Callback Procedures

Applicants who are invited to a live audition may also be asked for a callback on the same date. The callback will include a second round of playing for the faculty. Applicants should be prepared to stay at The Juilliard School until 8 p.m. on the day of their scheduled audition, in the event that they are called back. Applicants who are not called back may reasonably conclude that they are not under consideration for admission.

Pre-Screening Repertoire

Repertoire must be in this order:

  1. Mozart – Exposition of 1st and 2nd movements of Concerto in G Major or D Major, accompanied.
  2. Two contrasting movements selected from works of different styles or periods, accompanied (excluding Mozart).
  3. Mendelssohn Scherzo from A Midsummer Night’s Dream – 2 measures before P to the end.
  4. Two orchestral excerpts selected from the following choices:
    1. Beethoven Eroica Symphony – Last movement – measures 172–200.
    2. Beethoven Leonore Overture No. 3 – measures 328–360.
    3. Brahms Symphony No. 4 – Last movement – measures 93–105.
    4. Debussy Afternoon of a Faun – measures 1–4.

Live Audition Repertoire

  • At least one of Nos. 2, 3, or 4 must be performed from memory in its entirety.
  1. A complete Baroque sonata.
  2. A complete Classical concerto.
  3. A complete 20th or 21st-century concerto.
  4. Two additional complete works of contrasting styles and periods.
  5. Six standard orchestral excerpts displaying a balance of technical and lyrical playing.

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Guitar

  • The D.M.A. program is not available in this department.

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Harp

  • All auditioning students may use The Juilliard School harps to practice (during Audition Week only) and audition. Juilliard harps:
    • Lyon-Healy (style 23)
    • Lyon-Healy (style 85)

Live Audition Callback Procedures

Applicants who are invited to a live audition may also be asked for a callback on the same date. The callback will include a second round of playing for the faculty. Applicants should be prepared to stay at The Juilliard School until 10:00 p.m. on the day of their scheduled audition, in the event that they are called back. Applicants who are not called back may reasonably conclude that they are not under consideration for admission.

Live Audition Repertoire

  1. Both of the following two studies:
    1. No. 1 by Bochsa (Op. 34), Martenot edition.
    2. No. 10 by Pozzoli from Studies of Moderate Difficulty.
  2. A composition of the degree of difficulty of the Fantasie on a Theme of Haydn by Grandjany or Feerie (Prelude and Dance) by Marcel Tournier.
  3. Two contrasting short works:
    1. One Classical.
    2. One by a 20th-century composer, such as the Largo from the Violin Sonata No. 5 by Bach by Grandjany, or the Toccata from Sarabanda e Toccatta by Nino Rota.
  4. Fugue in D minor by Bach, No. 2, from the Bach-Grandjany Etudes.
  5. A large work for harp such as the Impromptu by Gabriel Fauré or one sonata from the standard repertoire for harp by Hindemith, Houdy, or Germaine Tailleferre.

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Harpsichord

  • D.M.A. applicants, please refer to the Historical Performance audition requirements.

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Historical Performance

  • Master of Music, Graduate Diploma, and D.M.A only. Undergraduate programs and Artist Diploma are not available in this department.
  • Eligible instruments are baroque violin, viola da gamba, baroque cello, baroque double bass, baroque flute, baroque oboe, baroque bassoon, plucked instruments, and harpsichord.
  • In addition to the Criteria for Acceptance listed at the beginning of this section, applicants in Historical Performance will also be assessed on their stylistic aptitude and awareness.

Live Audition Procedures

  • All auditions must be played on a historically-appropriate instrument at A=415.
  • Violinists must use at least gut A and E strings.
  • Cellists must use at least a gut A string.
  • All string players must use a baroque bow.
  • Harpsichordists will have two audition instruments available:
    • Flemish style, two manuals, 2x8’ and 4’ and buff stops; GG to f''' by Bruce Kennedy, at A=415 in Neidhardt kleine Stadt 1732
    • French style, two manuals, 2x8' and 4' and buff stops; FF to f''' by William Dowd, at A=440 in mean tone temperament
  • The accompanying instrument for other auditions will be:
    • Flemish style, two manuals, 2x8’ and 4’ and buff stops; GG to f''' by Bruce Kennedy, at A=415 in Neidhardt kleine Stadt 1732
  • A harpsichordist will be provided for auditions, although applicants may bring their own accompanist.
  • For bass-line instruments, continuo and orchestral repertoire (e.g. excerpts for double bass and bassoon) may be accompanied by a faculty member.

Live Audition Callback Procedures

  • Callbacks will take place on the same day as applicants’ first round auditions.
  • Applicants selected for callbacks may be asked to play audition repertoire not requested during the first round.
  • Applicants may be requested to incorporate musical or stylistic suggestions from the audition panel, and to describe their experience with historically-informed performance.
  • All applicants who are called back may be asked to sight read either alone or in the context of a small ensemble comprised of members of the faculty.
  • Applicants who are not called back may reasonably conclude that they are no longer under serious consideration for admission.

Live Audition Repertoire

Baroque Violin

  1. One of the following fugues for solo violin by J.S. Bach: G minor, BWV 1001; A minor, BWV 1003; C Major, BWV 1005; or the Chaconne from Partita No. 2 in D minor, BWV 1004.
  2. Any sonata for violin and continuo from Sonatae violino solo of 1681 by H.I.F. Biber.
  3. One complete sonata from Op. 5, Nos. 1-6 by Arcangelo Corelli, with ornaments in the slow movements.
  4. The Neuvième (Ritratto dell' Amore) or Onzième concert from Les Goûts-réünis, ou Nouveaux Concerts by François Couperin.

Viola da Gamba

  1. One complete sonata by J.S. Bach for viola da gamba and harpsichord.
  2. One suite by Marais from Books 2 or 4, to include a Prelude, Allemande, Sarabande, and one character piece.
  3. Tobias Hume: Captaine Hume's Pavan (No. 46) or Death (No. 12) and Life (No. 13), or similar from The First Part of Ayres, 1605.
  4. One movement by Forqueray.

Baroque Cello

  1. A complete ricercare for unaccompanied cello by Domenico Gabrielli.
  2. Three movements from a suite for solo cello by J. S. Bach.
  3. A complete sonata by Geminiani, Vivaldi, or Hellendaal.
  4. A complete concerto by F. J. Haydn or C.P.E. Bach, with the solo cello playing the bass line in any orchestral tuttis longer than four measures.
  5. A complete sonata by Jean Barrière or a complete work of the applicant’s choice from the High Baroque through the early Classical eras (no later than Mozart).

Baroque Double Bass

  1. A complete concerto for double bass/Viennese bass by Sperger, Cimador, Vanhal, Hofmeister, Pichl or Dittersdorf.
  2. A complete accompanied (transcribed) Baroque sonata (e.g. by J. S. Bach, Handel, Gabrielli, Corelli, Marcello, Abel, Telemann, Boismortier, etc.).
  3. An unaccompanied solo work from the 16th or 17th century, (e.g. from the canzona/viola bastarda repertoire for the G-Violone: Bonizzi, Rognoni, Selma y Salaverde, etc.) or two movements of a transcribed solo cello suite by J. S. Bach.
  4. The following orchestral excerpts:
    1. "The people that walked in darkness" (from the beginning to rehearsal B), from Messiah by G. F. Handel
    2. Overture to Orchestral Suite No. 2, BWV 1067, by J. S. Bach (up to measure 70)
    3. Bass solos from Symphony No. 6 ("Le Matin") by F. J. Haydn.

Baroque Flute

  1. A complete sonata by J. S. Bach.
  2. Two contrasting movements from a concerto by any of the following composers:
    1. C.P.E. Bach
    2. Michel Blavet
    3. Jean-Marie Leclair
    4. W. A. Mozart
    5. J. J. Quantz.
  3. Four contrasting movements from a suite by J-M Hotteterre.
  4. The obbligato flute part from two (preferably contrasting) arias by J. S. Bach, chosen from the Passions, the B minor Mass, and/or the cantatas.

Baroque Oboe

  1. Two contrasting movements from a concerto by Vivaldi or J. S. Bach.
  2. Four movements from a suite by J-M Hotteterre, Philidor, Robert de Visée or other 17th- or early 18th-century French composer.
  3. Two contrasting movements of a sonata in the Italian style by Geminiani, G. F. Handel (except the “Fitzwilliam” sonata in B-flat), G. P. Telemann, or Vivaldi.
  4. Two contrasting arias with obbligato oboe from a cantata by J. S. Bach.

Baroque Bassoon

  1. Two contrasting movements of a solo concerto by Antonio Vivaldi.
  2. A complete sonata or suite by Boismortier, Corrette, Galliard, or Merci.
  3. One of the following by G. P. Telemann:
    1. Sonata for bassoon in F minor TWV 41:f1
    2. Sonatina for bassoon (A minor or C minor)
    3. Two complete Fantasias for solo flute (transposed up a minor third, read in bass clef) TWV 40:2-13.
  4. The following orchestral excerpts:
    1. Overture to Orchestral Suite No. 1, BWV 1066, by J. S. Bach
    2. Overture to G. F. Handel's “Water Music” Suite in F Major, HWV 348.

Plucked Instruments

  • Applicants should be prepared to play theorbo and one other instrument.
  • In addition to the repertoire listed below, all applicants will be required to play a short continuo excerpt with a singer. Specific repertoire for the continuo excerpt will be provided approximately two weeks in advance of the audition date. A singer will be provided for the audition and contact information for rehearsal (if desired) of the continuo excerpt will be made available at the same time as the music.

Theorbo:
Three contrasting movements of the applicant's choice from the Saizenay manuscript and a toccata (other than IV), corrente, or gagliarda and one of the Partite Variate from Intavolatura di Liuto by Alessandro Piccinini.

Baroque Lute:
Three contrasting movements by Sylvius Leopold Weiss from the Dresden or British Museum manuscripts for 11- or 13-course lutes.

Baroque Guitar:
A complete suite by Robert de Visée and a passacalle (from Passacalles y obras) by Santiago de Murcia.

Archlute:
A toccata, corrente, or gagliarda and a recercar or canzone by Alessandro Piccinini, 1623.

Ten-course Lute:
Prelude, fantasie, and three contrasting dances from Nicolas Vallet's Secretum Musarum, 1615.

Harpsichord

  1. A toccata by Frescobaldi or Froberger.
  2. A pavan and a galliard by William Byrd.
  3. An English virginal variation set (e.g., Byrd, Bull, Farnaby, etc.).
  4. A French suite from the 17th or 18th century (D'anglebert, Marchand, Louis or François Couperin, Rameau, etc.).
  5. Two preludes and fugues from the Well-Tempered Clavier of J.S. Bach.
  6. A complete major work of J.S. Bach (partita, suite, Chromatic Fantasy and Fugue, etc.).
  7. Two complete sonatas of Domenico Scarlatti or Soler.

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Horn

  • Horn is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students) must submit pre-screening materials (either audio OR audio-visual recordings) through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each requirement must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials. However, both the pre-screening and the live audition repertoire must meet the requirements below.

Pre-Screening Repertoire

  1. Exposition from Mozart concertos 2 or 4 OR the first page of either Strauss concerto (No. 1 - until the 11 bars of rest halfway down the page on most editions; No. 2 - the first page of the horn part).
  2. Please choose one excerpt from each group (for a total of two excerpts):

Group A

  • RAVEL: Piano Concerto in G major (horn 1, movement 1, rehearsal numbers 25 - 26).
  • BEETHOVEN: Symphony No. 7 in A major, op. 92 (horn 1, movement 1, measures 84-102).
  • WAGNER: from Gotterdammerung (Siegfried's Short Call).

Group B

  • SHOSTAKOVICH: Symphony No. 5 in D minor, op. 47 (horn 1, movement 1, low tutti).
  • BEETHOVEN: Symphony No. 3 in E-flat major, op. 55, "Eroica" (Scherzo trio, horn 2, measures 171-205).
  • R. STRAUSS: Don Quixote (Variation VIII, horn 2, six measures before rehearsal 59 to eight measures after rehearsal 62).

Live Audition Repertoire

  1. Two etudes showing the applicant’s level of technical and musical advancement.
  2. At least one major solo of the applicant’s choice.
  3. Five to ten standard orchestral excerpts.
  4. A complete concerto from the standard repertoire.
  5. Additional evaluation such as sight-reading, ear-training, range/register exploration, and scales might be required during the audition.

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Jazz Studies

  • The D.M.A. program is not available in this department.

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Oboe

  • Either No. 2 or No. 3 must be a complete major work which is not less than 10 minutes in length.
  1. Two etudes showing the applicant’s level of technical and musical ability.
  2. A slow/fast pair of movements or a complete shorter work from any Baroque or Classical piece, not less than 8 minutes in length (may include repeats).
  3. A sonata or concerto movement (or pair of movements) or a short work (or pair of short works) in a style other than Baroque or Classical, not less than 6 minutes in length.
  4. Three orchestral excerpts demonstrating slow, fast, and articulated passages.

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Orchestral Conducting

  • Master of Music, Graduate Diploma, and Artist Diploma only. The D.M.A. program is not available in this department.

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Organ

  • Organ auditions will take place on The Juilliard School’s Holtkamp organ in Paul Hall. A complete list of stops and specifications will be sent with the audition schedule letter. This information can also be accessed here.
  • While memorization is not required, it is encouraged.
  1. A major work of J. S. Bach.
  2. An organ composition by a representative Romantic composer.
  3. A work composed since 1930.
  4. Applicants may be asked to sight-read.

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Percussion

  • Percussion is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students) must submit pre-screening audio-visual recordings through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio-visual recording must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • Audio-visual recordings of live in-concert performances of any of the required solo works are acceptable, as are recordings made specifically to fulfill the pre-screening requirements.

Pre-screening Repertoire

1. Mallets

  1. Two mallets – any 2 mallet movement from J.S. Bach Sonatas and Partitas for solo violin or Suites for solo cello – no repeats.
  2. Orchestral excerpts:

    Xylophone: Porgy and Bess Overture – Gershwin; Firebird Ballet 47–48 and 127–133 – Stravinsky
    Glockenspiel: Sorceror's Apprentice 4 after 17–4 after 19, 22–24 – Dukas

  3. Four mallets – perform one of the following works:

Marimba: Khan Variations – Viñao; Merlin – Thomas; Marimba Variations – Wuorinen;  Velocities – Schwantner; Reflections on the Nature of Water – Druckman; Three Moves – Lansky
Vibraphone: Loops II – Hurel; Le Livre des Claviers – Manoury; Omar – Donatoni

2. Snare Drum

  1. Long Roll ♩ = 80.

  1. Wilcoxon – Rhythmania from Modern Rudimental Swing Solos.
    • Play beginning to downbeat of m. 16 ♩= 100.
  2. Delecluse – choose one etude from 12 Etudes
  3. Orchestral excerpts: Lt. Kije (opening) – Prokofiev; Sheherezade iii D - E, iv. P – Q – Rimsky-Korsakov; Clarinet Concerto, 4 before 29 – 1st beat of 32 – Nielsen

3. Multi percussion

Choose one from the following: Rebonds A , Psappha – Xenakis; Rogoshanti – Wood; I Ching – Norgard; 13 Drums – Ishii; Anvil Chorus – Lang; Jannisary Music – Wuorinen; Bone Alphabet – Ferneyhough

4. Timpani

  1. Long roll ♩ = 80.

  1. Goodman – Modern Method for Timpani – Etude No. 72.
  2. Orchestral excerpts:
  • Brahms – Symphony No. 1 – Fourth movement coda.
  • Beethoven – Symphony No. 9 – First movement coda.
  • Tchaikovsky – Symphony No. 4 – First movement, 2 before T to 3 before U ♩ = 80.

Live Audition Repertoire

  • If invited to a live audition, applicants should bring three copies of all materials.
  1. Mallets
    1. Two-mallet solo of your choice.
    2. Four-mallet solo from the pre-screening list (solo must be different from pre-screening submission).
    3. Knowledge of scales and arpeggios.
    4. Sight-reading.
    5. Three standard orchestral excerpts (excerpts must be different from pre-screening submission).
  2. Snare Drum
    1. Etudes from Cirone Portraits in Rhythm or Delecluse 12 Etudes or the equivalent.
    2. Knowledge of rudiments and ornaments.
    3. Ability to roll at all dynamic levels.
    4. Sight-reading.
    5. Three standard orchestral excerpts (excerpts must be different from pre-screening submission).
  3. Multi percussion: Rebonds B – Xenakis.
  4. Timpani
    1. Etudes from Goodman method, Firth, Delecluse, or Hochrainer books or the equivalent.
    2. Ability to tune accurately.
    3. Ability to roll at all dynamic levels.
    4. Sight-reading.
    5. Three standard orchestral excerpts (excerpts must be different from pre-screening submission).

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Piano

  • Piano is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students) must submit pre-screening audio-visual recordings through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio-visual recording must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • Applicants' hands and feet should be clearly visible.
  • It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials. However, both the pre-screening and the live audition repertoire must meet the requirements below.
  • All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.
  • Applicants whose programs do not meet the following requirements will not be scheduled for an audition. Any changes to the audition program made after submitting the application must be approved by the department chair.

Pre-screening Repertoire

For pre-screening, applicants must submit No. 2 and No. 3 from the live audition repertoire.

Live Audition Repertoire

  • The entire audition program should reach a minimum of 60 minutes. Shorter programs may be subject to approval by the piano faculty.
  1. Any major work by Bach. Preludes and Fugue are permitted. (No transcriptions permitted.)
  2. Choose one of the following:
    1. One of the following Beethoven sonatas Op. 2, Nos. 2 or 3; Op. 7; Op. 10, No. 3; Op. 22; Op. 28; any sonata later than Op. 28, excluding Op. 49 and 79.
      OR
    2. One of the following Schubert sonatas: Op. 42, Op. 78, Op. 53, Op. 143, any of the three post­humous sonatas, Wanderer Fantasie.
  3. Two substantial works by different composers: one from Group A, the other from Group B.
    Group A: Chopin, Schumann, Brahms, Liszt, Mendelssohn.
    Group B: A work written in the late 19th or early 20th century. This includes, but is not limited to, the following composers: Tchaikovsky, Mussorgsky, Scriabin, Rachmaninoff, Busoni, Fauré, Debussy, Ravel, and Grieg. (Composers from Group A are not permitted for this requirement.)
  4. A substantial 20th or 21st-century work by a composer post-dating Impressionism.

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Viola

  • Viola is a pre-screened major.
  • All applicants (with the exception of current Juilliard students) must submit pre-screening audio recordings through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio recording must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials. However, both the pre-screening and the live audition repertoire must meet the requirements below.
  • All compositions except for duo sonatas should be memorized.

Pre-Screening Repertoire

For pre-screening, applicants must submit:

  1. Two movements of No. 1 and,
  2. First movement of No. 2 OR No. 3 from the live audition repertoire.

Live Audition Repertoire

  • Of Nos. 2 and 3, one must be a 20th or 21st-century composition
  1. A complete solo Bach suite, sonata, or partita.
  2. A complete sonata or equivalent work for viola, solo or with piano. In the interest of encouraging exploration of a wider range of repertoire, the following works are EXCLUDED from this requirement: the two Brahms Sonatas, the Schubert Arpeggione, and the Rebecca Clarke Sonata.
    • We strongly encourage candidates to choose works originally written for viola. Examples include (but are not limited to): W. F. Bach C minor Sonata, L. Boccherini C minor Sonata (original viola sonata, not cello), Weber Andante and Rondo Ongarese, Vieuxtemps Sonata Op. 36 or Unfinished Sonata, Reger 3 Suites (unaccompanied), Hindemith any of three sonatas with piano or four unaccompanied sonatas, York Bowen two sonatas, A. Bax Sonata, Ligeti Unaccompanied Sonata, Babbitt Piece for Viola and Piano, etc.
  3. A complete concerto EXCLUDING the Bartok, Walton and Hindemith “Der Schwanendreher”; again encouraging exploration of wider repertoire.
    • We strongly encourage candidates to choose works originally written for viola. Examples include (but are not limited to): A. Rolla Concerto in E-flat Major, Vanhall C Major, Hindemith Kammermusik No. 5 or Konzertmusik, Y. Bowen Concerto, W. Piston Concerto, K. Penderecki Concerto, J. Harbison Concerto, etc.
  4. A short work for viola, solo or with piano, up to about 10 minutes duration composed after 1945 by composers such as Babbitt, Carter, Persichetti, Penderecki, Kurtag, Ligeti, Zimmermann etc.

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Violin

  • Violin is a pre-screened major.
  • All applicants (with the exception of current Juilliard students) must submit pre-screening audio recordings through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio recording must be in its own digital file. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
  • It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials. However, both the pre-screening and the live audition repertoire must meet the requirements below.

Pre-Screening Repertoire

  1. A slow and fast movement from a 19th or 20th-century concerto.
  2. One movement from an unaccompanied Bach sonata or partita.
  3. One Paganini caprice.

Live Audition Repertoire

  • Of Nos. 1 and 4, one must be a contemporary selection composed since 1960. If using No. 4 to fulfill this requirement, only one of the brilliant concert pieces must be post-1960.
  • All compositions must be performed from memory except for duo sonatas. Memorization of music since 1960 is encouraged but optional.
  • Please minimize piano accompaniment interludes.
  1. A complete concerto from the Romantic period or 20th century.
  2. A complete Bach sonata or partita.
  3. A Classical sonata for violin and piano. If the Beethoven Concerto is chosen for No. 1, a Romantic or 20th-century sonata should be played.
  4. Two contrasting brilliant concert pieces.
  5. Two Paganini caprices.
  6. A complete concerto by Mozart.

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Voice

  • Voice is a pre-screened major.
  • All applicants (with the exception of current Juilliard students) must submit pre-screening audio recordings through Acceptd, our online portal, by December 1 in order to be considered for an invitation to a live audition. The portal will close at 11:59 p.m. on December 1; it will not be possible to submit pre-screening materials after the deadline. Acceptd charges $15 for this service, payable by credit card.
  • Each audio recording must be in its own digital file. Do not upload all pre-screening requirements in the same file.
  • It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials. However, both the pre-screening and the live audition repertoire must meet the requirements below.
  • The quality of your pre-screening recording may significantly affect the determination of the pre-screening jury. Avoid distortion of the voice, excessive “buzz,” and lack of balance between the piano accompaniment and the voice. Review your pre-screening recordings before uploading to ensure that they are of good quality and represents your best work to date.
  • Pre-screening repertoire selections must include accompa­niment and must show contrast in musical styles, tempos, and languages.

In addition to the standard application materials, all candidates must submit a professional résumé. A photograph is optional.

Live Audition Callback Procedures

  • Applicants selected for callbacks will be scheduled for additional evaluation at the end of the audition day (early evening). Each called-back applicant will be scheduled for a coaching session (approximately 20 - 30 minutes long) with a panel of Vocal Arts faculty in diction, acting, and movement. There is no specific preparation needed for the callback, as callback material will be the repertoire prepared for the audition.
  • Please note that the callback will begin at the end of the afternoon auditions and may run into the evening; applicants should be available until 10:00 p.m. on the day of the scheduled audition.
  • Applicants who are not called back may reasonably conclude that they are not under consideration for admission.

Pre-Screening Repertoire

  1. An Italian art song or aria from 18th century or before.
  2. A song in English (not a translation).
  3. A third selection in any language.
  4. An opera aria from any period, in any language. (An oratorio aria may not be used to fulfill this requirement.)
  5. One German Lied.
  6. One French Melodie.
  7. Another aria of the applicant’s choice.

Live Audition Repertoire

  • All compositions must be performed from memory.

Selected candidates should present a full recital that includes two arias and also fulfills the language requirements of the pre-screening repertoire. The recital program should be expansive in the sense that a variety of musical periods, styles, and languages should be represented.

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Pre-screening

Upload pre-screening materials