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Doctor of Musical Arts Audition Dates, Pre-Screening and Live Audition Repertoire for Fall 2017

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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.
  • 2017 Music Auditions week runs from Sunday, February 26 to Friday, March 3, 2017. No auditions will be scheduled outside of these dates, under any circumstances.
  • 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 3, 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 2017 Audition Dates (some Dates TBD*)
Bassoon February 27
Bass Trombone February 27
Cello February 27 & 28 March 1 
Clarinet February 28, March 1 & 2
Collaborative Piano March 2, March 3
Composition Composition Exam: February 26
Composition Interviews: February 27 & 28
Double Bass February 26 & 28
Flute February 28 (evening)
Harp March 2 & 3
Historical Performance New York Only: February 24, 26, & 27
Horn February 27, February 28 (if needed), March 3 (if needed)
Oboe February 26, February 27
Organ Organ Dinner: February 27
Auditions: February 28, March 1
Percussion March 1, 2, & 3
Piano February 26 only
Trombone March 2
Trumpet March 1 & 2
Tuba February 27
Viola February 27 & 28, March 1 
Violin February 27 - March 3
Voice February 26 - 28 

*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, 2016. 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 applying to the same major) must submit pre-screening audio-visual recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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 recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.

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

  • Trumpet is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students applying to the same major) must submit pre-screening audio recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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.
  • Pre-screening recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.

Pre-Screening Repertoire

  • Piano accompaniment preferred but not required.
  1. One movement of a standard solo work (concerto or sonata) or five to eight minutes from a single-movement work.
  2. One etude of the applicant's choice.
  3. Three standard orchestral excerpts.

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. 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 applying to the same major) must submit pre-screening audio recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application  will close at 11:59 p.m. on December 1.
  • 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 recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.

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 complete Bach 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. A complete 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 the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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 recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.
  • 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 applying to the same major) must submit pre-screening materials through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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 up to ten minutes of music which represents your best, most accomplished work (two ten-minute selections, for a total of approximately twenty minutes).
  2. Audio recordings which are cued to the same section of music should accompany the scores.(Recordings are in support of the scores and may be live music or digital realizations of your works.)
  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 applying to the same major) must submit pre-screening audio-visual recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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.
  • Pre-screening recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.
  • 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 the following from the live audition repertoire:

  1. One movement of No. 1,
  2. One movement of No. 2, with piano accompaniment, and
  3. One excerpt from No. 3.

Live Audition Repertoire

  1. Two contrasting movements from the Bach Cello Suites.
  2. Two movements of a standard concerto (Dragonetti, Vanhal, Bottesini, Dittersdorf, Koussevitzky), from memory.
  3. Three standard 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 applying to the same major) must submit pre-screening materials (audio-visual recordings) through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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. One of the following pieces, in its entirety:
    1. Prélude et Scherzo (Henri Büsser) 
    2. Concertino, Op. 107 (Cecile Chaminade)
    3. Concertino, Op. 45 (Alphonse DuVernoy) 
    4. Cantabile et Presto (Georges Enesco) 
    5. Fantasie, Op. 79 (Fauré)  
    6. Andante et Scherzo (Louis Ganne) 
    7. Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert) 
    8. Ballade (Périlhou) 
    9. Andante Pastoral et Scherzettino (Paul Taffanel)
  4. Mendelssohn Scherzo from A Midsummer Night’s Dream – 2 measures before P to the end.
  5. 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 Bach sonata.
  2. A complete Mozart concerto.
  3. A complete 20th or 21st-century concerto.
  4. Two additional complete works of contrasting styles and periods.
  5. One of the following pieces, in its entirety:
    1. Prélude et Scherzo (Henri Büsser) 
    2. Concertino, Op. 107 (Cecile Chaminade)
    3. Concertino, Op. 45 (Alphonse DuVernoy) 
    4. Cantabile et Presto (Georges Enesco) 
    5. Fantasie, Op. 79 (Fauré)  
    6. Andante et Scherzo (Louis Ganne) 
    7. Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert) 
    8. Ballade (Périlhou) 
    9. Andante Pastoral et Scherzettino (Paul Taffanel)
  6. 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)
  • Memorization is required.
  1. A French Suite by Bach (applicant may choose any suite and transcription).
  2. Paradisi - Toccata.
  3. A large work for harp such as Faure - Impromptu Op. 86 or Salzedo- Variations on a Theme in Ancient Style.
  4. Handel - Concerto in B Flat Major Op. 4 No. 6.
  5. A concerto such as Gliere, Reinecke, or Ginastera.
  6. Orchestral Excerpts: three contrasting cadenzas (applicant may include Wagner's Firemusic excerpt).

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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. Baroque viola is occasionally eligible by request.
  • 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.
  • The Graduate Diploma in Historical Performance consists of two years of full-time study.
  • Although opened to students in historical performance, please note that the D.M.A. at Juilliard follows a broad-based curriculum spanning the full spectrum of Western classical music, and is not specifically designed for historical performance.
  • There is no pre-screening process for Historical Performance applicants; all applicants will be scheduled for a live audition. However, as a special service to students from abroad, video recordings of the applicants performing the required audition repertoire may be submitted well in advance of December 1 to determine the advisability of travel for a personal audition. However, the application must still be submitted by December 1. Send DVDs in U.S. format as per these instructions. Please note: the application fee is not refundable, regardless of the outcome of this assessment.

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.
  • Chin rests may not be used.
  • Cellists must use at least a gut A string.
  • Baroque double bassists must use at least gut G and D strings; bass applicants auditioning on Viennese bass or violone must use a full set of gut strings.
  • 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
    • Italian style, single manual, by John Philips after Grimaldi, 2x8’, A=440, meantone
  • 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.
  • D.M.A. applicants in plucked instruments will have the opportunity to rehearse with a melody-line instrument in advance.

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

Viola da Gamba

  1. One complete sonata by J.S. Bach for viola da gamba and harpsichord.
  2. Three movements by Forqueray.
  3. Komm, süsses Kreuz from the St. Matthew Passion by J.S. Bach.
  4. Sonata in D Major for unaccompanied viol by G.F. Telemann OR Sonata VI from L'Echo du Danube by J. Schenk.

Baroque Cello

  1. A complete ricercare for unaccompanied cello by Domenico Gabrielli.
  2. J.S. Bach 4th Suite for Unaccompanied Cello (must be prepared in its entirety).
  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).
  6. A complete sonata by Boccherini or Johann Christoph Friedrich Bach.
  7. A slow movement of a Baroque sonata, of the applicant's choice, with ornaments (must be by a composer other than those represented in the previous requirements).

Baroque Double Bass

  1. Three complete movements of a concerto for double bass/Viennese bass by Sperger, Cimador, Vanhal, Hofmeister, Pichl, Dittersdorf or Zimmerman. (Must be played in the appropriate tuning.)
  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. Bass obbligato from Mozart's "Per Questa Bella Mano," K. 612.
  5. 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:
  • C.P.E. Bach
  • Michael Blavet
  • Jean-Marie Leclair
  • W.A. Mozart
  • J.J. Quantz
  1. A complete suite by J.-M. Hotteterre.
  2. The obbligato flute part from two contrasting arias by J.S. Bach, chosen from the Passions, the B-minor Mass, and/or the cantatas.

Baroque Oboe

  1. A complete baroque sonata in the Italian style.
  2. Four dance movements in the French style.
  3. Two contrasting arias with obbligato oboe by J.S. Bach.
  4. One full Baroque or Classical concerto of the applicant's choice.
  5. A work of the applicant's choice.

Baroque Bassoon

  1. A complete solo concerto by Antonio Vivaldi.
  2. Two complete solo sonatas or suites (e.g. Boismortier, Corrette, Fasch, Galliard, Merci, Telemann).
  3. Two complete Fantasias for solo flute by Telemann (transposed up a minor third, read in bass clef) TWV 40:2-13.
  4. The following orchestral excerpts:
    1. Overture and Bourrées from Orchestral Suite No. 1, BWV 1066, by J.S. Bach
    2. Sinfonia to Cantata 249a by J.S. Bach
    3. 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, applicants will be expected to sight read a short continuo excerpt of two contrasting movements from a Baroque sonata with faculty members.

Theorbo:

  • A toccata or similar piece by Kapsberger, Piccinini, or Castaldi.
  • Three contrasting French dances from the Saizenay MS or the Hurel MS.
  • Provide continuo accompaniment for a Couperin concert, Corelli sonata, or a Marais suite.

Plus one of the following instruments:

Baroque Lute:

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

Baroque Guitar:

  • Three contrasting movements from a suite by Corbetta, Robert de Visee, or Santiago de Murcia.
  • A set of variations by Santiago de Murcia (from Passacalles y obras or the Saldivar Codex).

Archlute:

  • Three contrasting pieces by Piccinini or Zamboni.

Renaissance Lute

  • A Pavan with divisions by Dowland or Bacheler. 
  • Three contrasting pieces by Michelagnolo Galilei, Nicolas Vallet, or Anthoine Francisque.

Harpsichord

  1. A toccata by Frescobaldi or Froberger.
  2. A 17th century French suite containing an unmeasured prelude.
  3. A complete major work of J.S. Bach (partita, suite, Chromatic Fantasy and Fugue, etc.).
  4. An 18th century French suite by Couperin, Rameau, or Forqueray.
  5. A complete work by W.F. Bach, C.P.E. Bach, or Haydn.

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Horn

  • Horn is a pre-screened major.
  • All applicants (with the exception of current Juilliard college students applying to the same major) must submit pre-screening materials (either audio OR audio-visual recordings) through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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 recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.

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. Three solo recital works (or concerti), one from each of the following periods: Classical, Romantic, and 20th/21st century.
  2. Five to ten standard orchestral excerpts.
  3. 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.
  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 applying to the same major) must submit pre-screening audio-visual recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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 recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.
  • 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 applying to the same majoe) must submit pre-screening audio-visual recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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.
  • Pre-screening recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.
  • 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 applying to the same major) must submit pre-screening audio recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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 recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.
  • 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 applying to the same major) must submit pre-screening audio recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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 recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.
  • The completeness and thoughtfulness of live audition repertoire submitted with the application is a factor in the decision whether to invite a candidate for an audition.

Pre-Screening Repertoire

  1. A slow and fast movement from a 19th-, 20th-, 21st-century concerto.
  2. One movement from an unaccompanied Bach sonata or partita.
  3. One Paganini caprice.

Live Audition Repertoire

  • Of Nos. 1, 3, and 4, one must be a contemporary selection composed since 1960. 
  • Memorization of music since 1960 is encouraged but optional. All other compositions must be performed from memory except duo sonatas.
  • Please minimize piano accompaniment interludes.
  1. A complete concerto from the 19th-, 20th-, 21st-century.
  2. A complete Bach sonata or partita. No repeats please, unless ornamented.
  3. A sonata for violin and piano. If the Beethoven Concerto is chosen for No. 1, a Romantic or 20th- or 21st-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 applying to the same major) must submit pre-screening audio recordings through the online application, by December 1 in order to be considered for an invitation to a live audition. The application will close at 11:59 p.m. on December 1.
  • 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.
  • Pre-screening recordings need not be presented in the order listed below. Instead, applicants should put the pre-screening requirement which best represents their work first, and then present the other required pre-screening works after.
  • 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.
  • For the callback session, applicants may change into clothes that are comfortable but also appropriate for an educational environment.
  • 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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