Graduate Music Audition Requirements

Artist Diploma

By invitation only.

Artist Diploma candidates are expected to have established a music career and have demonstrated success through professional concert performances, reviews, orchestral employment, competitions, and future engagements or projects.

To be considered, prospective applicants must send their C.V. (curriculum vitae) to bcb@berklee.edu for review by November 1. Candidates who are invited to apply for the Artist Diploma will be sent further instructions to submit an application and pre-screen portfolio in the form of a comprehensive press kit.

Based on review of the pre-screen, applicants who are invited to an on-campus audition must prepare a recital-length program of contrasting material that demonstrates a high level of musical and technical artistry and is a representative sampling of differing stylistic periods and of the applicant's style as an artist. Applicants who are not granted admission to the Artist Diploma program will be considered for admission to another graduate program.

Brass

horn, trumpet, trombone, bass trombone, tuba

No pre-screen required.

Instrumental auditions must be performed without accompaniment.

Prepare two movements of contrasting nature from the solo repertoire and three (3) orchestral excerpts. For your solo repertoire, you may choose from the suggested pieces below or make your own choices at a similar level of difficulty. We ask that you play the listed excerpts. In addition, please prepare all major and minor (natural, melodic, and harmonic) scales and arpeggios and be prepared to sight-read.

If you are submitting a recorded audition, please make sure that there is no accompaniment, and that the recording has not been edited and does not contain reverb. Recorded auditions should also include one major and three minor scales (one each: natural, melodic, and harmonic) and corresponding arpeggios. Each piece or selection may be uploaded as a separate video file with the title in English or the original language in the file name.

As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we strongly suggest that one or more of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities.

Trumpet

Suggested Repertoire:

• Joseph Haydn: Concerto
• Paul Hindemith: Sonata
• Adolphus Hailstork: Sonata

Orchestral Excerpts:

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

French Horn

Suggested Repertoire:

• Wolfgang Amadeus Mozart: Horn Concerto No. 2, 3, or 4
• Richard Strauss: Horn Concerto No. 1 or 2
• Reinhold Glière: Horn Concerto
• Gina Gillie: Sonata for Horn and Piano

Orchestral Excerpts:

• Richard Strauss: Opening solo from Till Eulenspiegel
• Johannes Brahms: Symphony No. 3, 3rd movement (Poco allegretto) solo, Horn 1, m. 98-110
• Shostakovich: Symphony No. 5, 1st movement, Horn 1, Rehearsal 17–21

Trombone

Suggested Repertoire:

• Frank Martin: Ballade
• Darius Milhaud: Concertino d’Hiver
• Anthony Barfield: Red Sky
• Henri Tomasi: Concerto

Orchestral Excerpts:

• Wolfgang Amadeus Mozart: Tuba Mirum
• Maurice Ravel: Bolero
• Hector Berlioz: “Hungarian March”

Bass Trombone

Suggested Repertoire

• Elizabeth Raum: Concerto for Bass Trombone, Movement 1
• Alexei Lebedev: Concerto Allegro 
• Alexei Lebedev:Concerto in One Movement
• Eugene Bozza: “New Orleans”
• Ken Amis: Concerto for Tuba

Orchestral Excerpts:

• Ludvig van Beethoven: Symphony No. 9
• Richard Strauss: Ein Heldenleben
• Richard Wagner: “Ride of the Valkyries”
• Silvestre Revueltas: “Sensemayá”
• José Pablo Moncayo: “Huapango”

Tuba

Suggested Repertoire:

• Paul Hindemith: Sonata
• Vaughan Williams: Concerto
• Ken Amis: Concerto for Tuba

Orchestral Excerpts:

• Richard Wagner: “Ride of the Valkyries”
• Sergei Prokofiev: Symphony No. 5
• Hector Berlioz: Symphonie Fantastique

Choral Conducting

Pre-screen required.

Applicants must submit pre-screening materials online by the December application deadline. Read more about the audition process below.

The pre-screen video and supporting materials must contain the following:

• A 15–20 minute video recording of footage comprising rehearsal and performance.
  • Note: The video should be from the perspective of the choir and show the conductor's face. The video should be of good quality and the conductor's instructions should be audible and clear. A successful applicant should provide video that shows rehearsal technique as well as performance conducting. Rehearsals should be run in English or subtitles provided if the choir's native language is not English. Video clips need not include an entire musical selection.
• A performance resume or curriculum vitae.
• Two letters of recommendation from artists/teachers who can most fully discuss your potential in the field of choral conducting.
• A written self-assessment of piano skills, vocal skills, and experience with languages and sung diction (Latin, German, French, Italian, Spanish, etc.).
  • Note: The self-assessment should include the career path the applicant hopes to undertake and how a master's degree in choral conducting fits into that plan.
• A brief but complete analysis of a short common practice period choral work, equivalent to a movement from a Brahms motet or Bach cantata.
  • Note: The analysis should include a chart of the work's form, harmonic language, key areas, etc.

Applicants may be invited to audition and interview at Boston Conservatory at Berklee based on an evaluation of the materials submitted above, as well as submission of a complete application.

During auditions, applicants will be asked to do the following.

Rehearse with a Boston Conservatory at Berklee choral ensemble, during which the applicant should expect to:

• Conduct a brief warm-up.
• Conduct a complete work or movement from a larger work, as assigned by the head of choral studies, with which the ensemble is familiar.
• Introduce a work or an excerpt from a larger work of the applicant’s choosing, in consultation with the head of choral studies.

Interview with choral faculty, during which the applicant will:

• Sing a prepared solo at the level of an Italian art song (a pianist will be provided).
• Demonstrate piano skills by playing a prepared piece of your choosing at the level of a two-part Bach Invention.
• Sight-read at the piano at the level of a Bach chorale in open score.
• Sight-read both tonal and atonal exercises from Modus Novus and other sources.
• Aurally identify intervals, scales, triads, and harmonic progressions.
• Read brief excerpts in Latin, German, French, Spanish, and Italian for correct pronunciation.
• Conduct assigned repertoire for the conservatory choral ensemble rehearsal with a pianist.

Applicants will also be invited to observe classes and rehearsals, as well as to interact with current graduate and undergraduate students.

Collaborative Piano

No pre-screen required.

On-Campus Auditions:

Applicants should prepare the following for a live audition. For auditions in Boston, you will be provided with a violinist and singers for your live audition, as well as a rehearsal period before the audition.

• Solo piano work or movement, less than 10 minutes in length. Memorization is required.
• Songs (all prepared in high keys):
  • Franz Schubert, “Ganymed”
  • Clara Schumann: "Er ist gekommen in Sturm und Regen"
  • Samuel Barber, “St. Ita’s Vision” (from Hermit Songs)
• Prepare the following:
  • Ludwig van Beethoven, Violin Sonata No. 1 in D Major, op. 12 (first movement only)
  • Adolphus Hailstork Sanctum for clarinet and piano or viola and piano
• Sight-reading

Composition

Pre-screen required.

Applicants to the graduate programs in composition should submit a portfolio of between two and four recent works (no more) which were written in the last three years, at least one of which must be for large ensemble (over 10 players).

• Scores should be legibly notated (by hand or by computer).
• Recordings of performances of your works, if available, are encouraged. Good quality midi is acceptable.
• Be sure that there is an accompanying score for each submitted recording.
• Write a short essay describing your musical influences and enthusiasms. Reference three modern concert works that have made an impact on you, and say why. The three works chosen should be from different time periods within the years spanning from roughly 1900 to the present day.

All of the above pre-screen materials must be submitted online. Based on your portfolio, applicants may be invited to interview on campus or online. Applicants will meet with a faculty panel to ask and answer questions about their process, influences, and professional goals.

Applicants do not need to bring any additional materials (such as score copies) to the interview; the interview will not include a request for a live performance.

Conducting

Pre-screen and live audition required.

All conducting applicants must submit a pre-screen recording by the December application deadline. Pre-screen material must include the following:

• A résumé highlighting the applicant’s performing, conducting, and educational experience
• A repertoire list of compositions conducted in performance and/or rehearsal
• Two artistic letters of recommendation from teachers or faculty who have observed the applicant conducting
• A 15-minute video of the applicant conducting a working rehearsal (including stopping, speaking, and starting) of any instrumental ensemble or repertoire. The recording camera should be facing the conductor, and the video should demonstrate verbal communication skills. The 15-minute video may include more than one rehearsal or repertoire. Due to the challenges posed by COVID-19, submissions of previous performances may be permitted.
• A 15-minute audio recording of the applicant performing recently prepared repertoire on the applicant’s primary instrument/voice

Applicants will not be invited to the live audition until all the above have been submitted. Applicants may be invited to a live audition and interview based on an evaluation of the materials submitted above, as well as submission of a complete application. The live audition will consist of an interview with Bruce Hangen and proficiency assessments in orchestration, music history, score recognition, repertoire, and standard foreign musical terminology.

Contemporary Classical Music Performance

flute, oboe, clarinet, saxophone, bassoon, horn, trumpet, trombone, bass trombone, tuba, percussion*, harp, piano, violin, viola, cello, double bass, voice

No pre-screen required. Live audition required.

Instrumental auditions should be performed without piano accompaniment, with the exception of strings and voice. String auditions may be accompanied, however it is not required and an accompanist will not be provided. Voice applicants will have a staff pianist provided for accompaniment for auditions in Boston, or you may choose to bring your own accompanist. Practice rooms are available the day of your audition.

Works with electronics are discouraged due to limited technical assistance and set-up time in the audition room. However, speakers and a 1/8 inch auxiliary cable can be provided for pre-recorded playback. If your audition includes works involving electronics, please contact the Office of Admissions at least two weeks prior to your audition date. 

Please provide at least two copies of the scores for the audition panel. Photocopies are permitted.

*Percussion applicants should prepare audition repertoire as indicated below in the section Percussion Audition—Contemporary Classical Music Performance.

All other instruments (including voice) should prepare three complete works that reflect technical, rhythmic, and musical proficiency in the following areas:

• One standard work composed before 1900 that demonstrates technical and musical proficiency.
• One 20th-century work, in traditional notation, from the standard repertoire, such as Berio’s Sequenzas, Carter, Boulez, Schoenberg, Berg, Ligeti, Stravinsky, etc.
• One work composed since 2000. This work may be written by the performer, by a student or colleague, or by an established composer, and may incorporate improvisation.

Percussion Audition—Contemporary Classical Music Performance

Percussionists applying for the Contemporary Classical Music Performance program should prepare the repertoire required for a standard graduate percussion audition, with a multi-percussion solo recording in place of orchestral excerpts (details below, no excerpts required). Works with electronics are discouraged due to limited technical assistance and set-up time in the audition room. However speakers and an 1/8 inch auxiliary cable can be provided for pre-recorded playback.

Please provide at least two copies of the scores for the audition panel. Photocopies are permitted.

You are encouraged to program creatively so as to represent your skills and also demonstrate something unique about yourself as a musician. Graduate percussion applicants must demonstrate proficiency on the instruments below and may be asked to sight-read.

Snare Drum

Perform both of the following, totaling about four minutes:

• Concert etude (suggested composers: Delécluse, Cirone, or Aleo)
• Rudimental solo (suggested composers: Pratt, Tompkins, or Wilcoxon)

Mallets (xylophone, marimba, and vibraphone)

Perform both of the following, totaling at least four minutes:

• Two-mallet solo: A work of your choice; be creative! Some suggestions are Bach Sonatas and Partitas for Unaccompanied Violin, or Suites for Unaccompanied Cello, or selections from the MassChap 2010 Xylophone Collection.
• Four-mallet solo: For suggestions, see Recommended Solos.

Note: For two-mallet and/or four-mallet solos, creative adaptations of any other composers' works are most welcome. In general, pieces with tempo fluctuations and a variety of rhythms and characters are preferred over perpetual motion pieces.

Timpani

Perform the following, totaling about three minutes:

• Solo piece about three minutes in duration. Suggested composers: Woud, Hochrainer, Firth, Delécluse, Lepak, Macarez, Carter.

Multi-Percussion

Please submit a recording of a multi-percussion solo or other contemporary solo on an instrument not otherwise represented above. Please upload a video recording (in lieu of a live performance of this work) on your preferred online platform and provide this link to the faculty prior to your audition date. Any questions can be directed to the Admissions Office.

Harp

No pre-screen required.

Instrumental auditions must be performed without accompaniment. Candidates auditioning in Boston may use Conservatory harps to practice and audition during the day of the audition only. To arrange use of a Conservatory harp, please contact the Conservatory music division via email at bcbmusic@berklee.edu. Available harps include a new Lyon-Healy (style 100), Salvi (Daphne), and Camac (Atlantide Prestige). Applicants may also choose to bring their own harp.

Applicants should prepare the following repertoire for a live or recorded audition:

Two contrasting works or movements of the applicant’s choosing from two contrasting periods (baroque, classical, Romantic, contemporary).  Use the following list of works to use as a guide for appropriate difficulty:

• Henriette Renié: Pièce Symphonique en Trois Episodes
• George Frideric Handel: Concerto in B-flat (any edition)
• William Grant Still: Ennanga
• Germaine Taifellere: Sonate
• Claude Debussy: Danse sacrée et danse profane
• Paul Hindemith: Sonate
• Caroline Lizotte: Suite Galactique

A work of your choice from any musical genre or cultural background about which you are passionate as an artist. This may include original works or arrangements by the applicant, or any other selection from the repertoire.  (This work should be a maximum of five minutes for undergraduate applicants and a maximum of seven minutes for graduate applicants.)

Two Orchestral Excerpts to be chosen from the following list:

• Gaetano Donizetti: solo and cadenza in D major from Lucia di Lammermoor
• Hector Berlioz: Symphonie Fantastique,harp 1 (complete 2nd mvt.)
• Maurice Ravel: cadenza from Tzigane
• Richard Wagner: Liebestod from Tristan und Isolde
• José Pablo Moncayo: “Huapango”
• Richard Strauss: Don Juan (Rehearsal D to 7m. before Rehearsal G)
• Bela Bartok: Concerto for Orchestra, harp 1 (mvts. 4 and 5)

​​​​​​​​​​​​​​As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we strongly suggest that one or more of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities. 

Marimba

No pre-screen required.

Auditions should be performed without accompaniment (although playback of electronics on CD or MP3 player is acceptable).

• On marimba, perform three works of contrasting musical styles totaling a minimum of 20 minutes. Adaptations are welcome, but one or two works must have been composed since 1970. (Optionally, one work may be performed on vibraphone.)
• At least two of these must utilize four mallets. 
• You are encouraged to program creatively to well represent your skills and also demonstrate something unique about yourself as a musician. For suggestions, see Recommended Solos and Database of Marimba Music by BIPOC Composers compiled by Southern California Marimba (Executive and Artistic Director Christina Cheon, M.M. '16, marimba).
• Applicants may be asked to sight-read.

Opera

Pre-screen required.

All opera applicants are required to submit a pre-screen video recording by the December application deadline. You will receive instructions on how to register and submit pre-screen videos upon submitting the application.

This pre-screen recording must be accompanied and include three contrasting pieces that are representative of the audition requirements listed below. This does not have to be the same repertoire you plan to sing for your audition.

• All works are to be performed from memory.
• Three arias in contrasting style and language
  • An aria from an oratorio is optional
• Three art songs
  • One in English (not in translation)
  • Two in languages of your choice

As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we require that at least one of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities. Additionally, applicants are encouraged to select a contemporary work from the mid-20th to 21st century to satisfy one of the above requirements.

Applicants whose first language is not English are welcome to perform a piece of classical repertoire in their first language in addition to the above requirements. This piece can be included in the applicant’s pre-screen submission and in their prepared pieces if invited for an audition. Please note: This piece should not replace any of the required art song, oratorio, or aria repertoire.

Recordings may not be edited for either audio or video enhancement.

If invited for a live audition, the live audition requirements are the same as the pre-screen requirements. Following the audition, each applicant will also have a short conversation and debrief with current voice department students. For on-campus auditions in Boston, a professional staff pianist will be provided for voice auditions, but you may choose to bring your own accompanist. Practice rooms will be available the day of your audition.

Note: Recorded auditions are not accepted for the opera program's final round of auditions. All opera applicants must audition live on campus in Boston.

Percussion

No pre-screen required.

Auditions should be performed without accompaniment (although playback of electronics on CD or MP3 player is acceptable).

• Graduate applicants must demonstrate proficiency in the areas described below.
• In addition, graduate applicants must prepare two (2) standard orchestral excerpts each for snare drum, timpani, and xylophone.
• Graduate applicants may be asked to sight-read on the instruments below.
• Graduate applicants to the contemporary classical music program should follow those repertoire guidelines.
• You are encouraged to program creatively so as to represent your skills well and also demonstrate something unique about yourself as a musician. We encourage and welcome music written by BIPOC and women composers.

Snare Drum

Perform both of the following, totaling about four minutes:

• Concert etude. Suggested composers: J. Delécluse, M. Peters, S. Solomon.
  Rudimental solo. Suggested composers: J. Pratt, J. Tompkins, C. Wilcoxon.

Mallets (xylophone, marimba, and vibraphone)

Perform both of the following, totaling at least four minutes:

• Two-mallet solo. A work of your choice; be creative! Bach (preferably from Sonatas and Partitas for Unaccompanied Violin or Suites for Unaccompanied Cello) or other classical composers’ adapted works (from any instrument), or selections from the MassChap 2010 Xylophone Collection.
• Four-mallet solo. For suggestions, see Recommended Solos and Database of Marimba Music by BIPOC Composers compiled by Southern California Marimba (Executive and Artistic Director Christina Cheon, M.M. '16, marimba).

Note: For two-mallet and/or four-mallet solo, creative adaptations of any other composers' works are most welcome. In general, pieces with tempo fluctuations and a variety of rhythms and characters are preferred over perpetual motion pieces.

Timpani

Perform the following, totaling about three minutes:

• Solo piece, about three minutes in duration. Suggested composers: N Woud, R. Hochrainer, V. Firth, R. Carroll, T. Adams

Note: Etudes that demonstrate standard orchestral timpani musicianship are preferred (e.g., Woud or Hochrainer etudes are preferred over Carter solos).

For on-campus auditions in Boston, the following instruments will be provided in your audition:

• 5-octave Marimba One marimba
• Yamaha xylophone
• 3-octave Adams vibraphone 
• Walter Light timpani (with Dresden pedals)
• Pearl Philharmonic snare drum (but you are welcome to bring your own)

Similar instruments will be available in warm-up rooms.

Piano

No pre-screen required.

For the audition, applicants should prepare all of the following. Multi-movement works must be prepared in their entirety. All works are to be performed from memory. Incomplete audition requirements will not be accepted.

• A prelude and fugue from the Well-Tempered Clavier or another work by Bach that includes a fugue
• A complete sonata by Haydn, Mozart, Beethoven, or Schubert
• A major work for solo piano from the Romantic era (including Rachmaninoff)
• A solo piano piece from the 20th or 21st century
• One virtuosic etude, such as those by Chopin, Liszt, Debussy, Rachmaninoff, Scriabin, Ligeti.

Applicants are encouraged to program creatively to well represent your skills and also demonstrate something unique about yourself as a musician.

Strings

violin, viola, cello, double bass

No pre-screen required.

• An etude or short virtuosic work that best demonstrates your ability to shift freely around the whole range of the instrument with good control of bowing articulation
• Two movements of unaccompanied Bach (bass players may substitute with another work of their choice)
• A complete first or last movement of a standard concerto
• A work of your choice from any musical genre or cultural background about which you are passionate as an artist. This may include original works or arrangements by the applicant or any other selection from the repertoire.
• There may be brief sight-reading at the live audition.
• Piano accompaniment is encouraged, but not required
• Memorization is encouraged but not required.

It is not required that you perform your audition with piano accompaniment, and the Conservatory cannot provide an accompanist for you. But for those who would like to work with a pianist, please contact Chair of Instrumental Studies Matthew Marsit at mmarsit@berklee.edu to receive a list of local collaborative pianists for hire. You must schedule and hire the accompanist if you need one. A piano will be available for warm-up and in the audition room for auditions in Boston.

Voice

Pre-screen required.

All voice applicants are required to submit a pre-screen recording by the December application deadline. You will receive instructions on how to register and submit pre-screen videos upon submitting the application.

This pre-screen recording must be accompanied and include three contrasting pieces that are representative of the audition requirements below. This does not have to be the same repertoire you plan to sing for your audition.

• All works are to be performed from memory.
• Three art songs
  • One in English (not in translation)
  • Two in languages of your choice
• One aria from an opera or oratorio

As part of the Conservatory’s mission to advance diversity and inclusion in all forms, , we require that at least one of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities. Additionally, applicants are encouraged to select a contemporary work from the mid-20th to 21st century to satisfy one of the above requirements.

Applicants whose first language is not English are welcome to perform a piece of classical repertoire in their first language in addition to the above requirements. This piece can be included in the applicant’s pre-screen submission and in their prepared pieces if invited for an audition. Please note: This piece should not replace any of the required art song, oratorio, or aria repertoire.​​​​​​​

Recordings may not be edited for either audio or video enhancement.

If invited for a live audition, the audition requirements are the same as the pre-screen requirements. Following the audition, each applicant will also have a short conversation and debrief with current voice department students. For on-campus auditions in Boston, a professional staff pianist will be provided, but you may choose to bring your own accompanist. Practice rooms will be available the day of your audition.

Musical Theater Vocal Pedagogy

No pre-screen required.

Audition Requirements:

• Two musical theater song selections
  • Must include one Golden Age selection
  • An English art song or aria (optional)
• Two contemporary musical theater selections
  • For treble or female-identifying voices, one piece must demonstrate mix/belt/chest access
• As part of the Conservatory’s mission to advance diversity and inclusion in all forms,, we require that at least one of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities.
• One short monologue from the standard repertoire (1950s forward)
• All works are to be performed from memory.

Piano Skills:

• Please also prepare and present the piano accompaniment of either an Italian art song or musical theater selection (comping is acceptable). You may sing along if you wish.

Supplemental Materials:

• Candidates should submit one 30- to 45-minute lesson that demonstrates teaching through exercises as well as through technical and musical work in repertoire. Repertoire should be from the musical theater canon and, if possible, accompanied by the candidate to the best of their ability. If necessary, standard classical vocal repertoire can be substituted. 
• Candidates should upload their lesson to YouTube as a single unlisted video. Candidates will submit their video link as part of the audition questionnaire, which is emailed to applicants upon registering for their audition date and time. Candidates must submit their audition questionnaire at least one week prior to their scheduled audition.

Applicants will sing two selections requested by the committee in addition to the prepared monologue. Please be prepared to perform musical theater pieces in their full form as well as 32 bar cuts.

At the live audition each applicant will perform for Head of Vocal Pedagogy Kevin Wilson and members of the Conservatory's voice faculty. Following the audition, each applicant will also have a short conversation and debrief with current voice department students. For on-campus auditions in Boston, a professional staff pianist will be provided, but you may choose to bring your own accompanist. Practice rooms will be available the day of your audition.

Please note, recorded auditions are not permitted. Vocal pedagogy applicants must audition live on campus in Boston.

Vocal Pedagogy (M.M.)

No pre-screen required.

Audition Requirements:

• Three art songs
  • One in English (not in translation)
  • Two in languages of your choice
• One of the following:
  • An aria from an opera or oratorio
  • A selection from the classical or contemporary theater genre
• All works are to be performed from memory.
• As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we require that at least one of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities. Additionally, applicants are encouraged to select a contemporary work from the mid-20th to 21st century to satisfy one of the above requirements.
• Applicants whose first language is not English are welcome to perform a piece of classical repertoire in their first language in addition to the above requirements. Please note: This piece should not replace any of the required art song, oratorio, or aria repertoire.

Piano Skills:

• Please prepare and present the piano accompaniment of either an Italian art song or musical theater selection (comping is acceptable). You may sing along if you wish.

Each applicant will perform for Head of Vocal Pedagogy Kevin Wilson and other members of the Conservatory voice faculty. Following the audition, each applicant will also have a short conversation and debrief with current voice department students. For on-campus auditions in Boston, a professional staff pianist will be provided for voice auditions, but you may choose to bring your own accompanist. Practice rooms will be available the day of your audition.

Please note, recorded auditions are not permitted. Vocal Pedagogy applicants must audition live.

Woodwinds

Flutes

Graduate (M.M., G.P.D., P.S.C.)

No pre-screen required.

• Two contrasting works or movements from the recital repertoire from two different periods (baroque, classical, Romantic, contemporary) 
• Two contrasting movements from a concerto
• Choice of one excerpt from the following list PLUS one additional excerpt of your choice: 
  • Ludwig van Beethoven, Leonore Overture No. 3—measures 328–360
  • Johannes Brahms, Symphony No. 4, last movement—measures 93–105
  • Felix Mendelssohn, "Scherzo" from Midsummer Night's Dream—two measures before letter P to the end
  • Claude Debussy, Prélude à l’après midi d’un faune—opening four-bar solo, continue at rehearsal #2
• A work of your choice from any musical genre or cultural background about which you are passionate as an artist. This may include original works or arrangements by the applicant or any other selection from the repertoire.

​​​​​​​​​​​​​​As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we strongly suggest that one or more of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities.

Optional: Piccolo

• Two contrasting works or movements
• Two orchestral excerpts in contrasting styles

Oboes

Graduate (M.M., G.P.D., P.S.C.)

No pre-screen required.

• One slow and one fast selection from Barrett’s 15 Grand Studies or the 48 Ferling Études
• Two movements of contrasting nature from the solo repertoire (e.g., Marcello concerto, Mozart concerto, Vaughan Williams concerto)
• Your choice of one Collision Etude by Alyssa Morris (pub. TrevCo)
• Two orchestral excerpts (e.g., Bartók: Concerto for Orchestra, Beethoven: Third Symphony, Rossini: La Scala di Seta Overture)

​​​​​​​​​​​​​​As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we strongly suggest that one or more of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities.

Optional: English Horn

• Two movements of contrasting nature from the solo repertoire (e.g., Donizetti concertino)
• Two orchestral excerpts (e.g., Berlioz: Roman Carnival Overture; Dvôrák: New World Symphony, Largo; Debussy: Nocturnes, Fêtes)

Clarinets

Graduate (M.M., G.P.D., P.S.C.)

No pre-screen required.

• Scales. All major and minor scales, at least three octaves, both slurred and articulated.
• One major concerto of the applicant’s choice.
• A work of your choice from any musical genre or cultural background, about which you are passionate as an artist. This may include original works or arrangements by the applicant or any other selection from the repertoire.
• Four contrasting orchestra excerpts. 

As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we strongly suggest that one or more of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities.

Bassoons

Graduate (M.M., G.P.D., P.S.C.)

No pre-screen required.

• Two movements from the recital repertoire from two different periods (baroque, classical, Romantic)
• Jenni Brandon: “Colored Stones” (pub. Imagine Music Publishing)
• Two contrasting etudes from Milde Concert Studies, op. 26
• Four contrasting orchestral excerpts
• A work of your choice from any musical genre or cultural background, about which you are passionate as an artist.  This may include original works or arrangements by the applicant, or any other selection from the repertoire.

​​​​​​​As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we strongly suggest that one or more of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities.

Saxophone

Graduate (M.M., G.P.D., P.S.C.)

No pre-screen required.

• Two of the following (or comparable) works:
  • Edison Denisow: Sonata (pub. Leduc)
  • Lucy Robert: Cadenza (pub. Billaudot)
  • Alfred Desenclos: Prelude, Cadence et Final (pub. Leduc)
  • Giacinto Scelsi: Tre Pezzi (pub. Salabert)
  • Jacques Ibert: Concertino da Camera (pub. Leduc)
  • Anthony Green: “Weightless” (composer’s website)
  • Jeanine Rueff: Sonate (pub. Leduc)
  • Ryo Noda: “Maï” (pub. Leduc)
  • Alexander Glazunov: Concerto (pub. Leduc or Kalmus) 
  • Jean Tower: “Wings” (pub. Schirmer)
  • Ingolf Dahl: Concerto (pub. European American Music)
  • Yusef Lateef: “Klockology” (composer’s website)
  • Luciano Berio: Sequenza IXb OR Sequenza VIIb (pub. Universal Edition)
• Additional piece (optional):
  • A work of your choice from any musical genre or cultural background, about which you are passionate as an artist. This may include original works or arrangements by the applicant, or any other selection from the repertoire.

As part of the Conservatory’s mission to advance diversity and inclusion in all forms, we strongly suggest that one or more of your selections be written by a composer from an underrepresented group(s), such as, but not limited to, works by Asian, BIPOC, Latinx, LGBTQ+, and women composers, or other underrepresented identities.

Woodwinds with Auxiliary Instrument Specialization

No pre-screen required.

Students interested in applying for graduate-level programs in woodwinds now have the option of formally declaring an auxiliary instrument specialization. The core curriculum for these specializations is nearly identical in structure to other graduate-level programs in woodwinds. Accepted students who declare auxiliary instrument specializations will note the specialized work in the applied area (private lessons, juries, and recitals), large ensembles (with casting priority on the specialized instrument), and the possibility of chamber music assignments. Applicants who wish to be considered for the specializations should adhere to the specific audition requirements below.

Flute with Piccolo Specialization

Flute

• Two contrasting movements of your choice from the standard solo repertoire (e.g., Mozart Concerti, Prokofiev Sonata, Poulenc Sonata, Bach Sonatas or Partita)
• A work of your choice from any musical genre or cultural background about which you are passionate as an artist. This may include original works or arrangements by the applicant or any other selection from the repertoire.

Piccolo

• Any Vivaldi piccolo concerto: one slow and one fast movement
• Four orchestral excerpts
  • Your choice of opera overture by Rossini (e.g., La gazza ladra, La scala di seta Overture, Semiramide Overture)
  • Your choice of Shostakovich Symphony 6, 8, or 10
  • Pyotr Ilyich Tchaikovsky:  Symphony No. 4
  • Hector Berlioz:  "Dance of the Sprites," from Damnation of Faust

Oboe with English Horn Specialization

Oboe

• Two contrasting movements of your choice from the standard solo repertoire (e.g., Mozart Concerto, Vaughan Williams Concerto, Strauss Concerto)
• Your choice of one Collision Etude by Alyssa Morris (pub. TrevCo)

English Horn

One of the following solo works:

• J.S. Bach: Cantata #1, aria "Wie schön leuchtet"
• Gaetano Donizetti: Concertino for English Horn

Three orchestral excerpts:

• Hector Berlioz: Roman Carnival Overture: all the passages from the Andante Sostenuto section
• Claude Debussy: Nocturnes Movt. 2 (Fêtes): the first passage and figures 2–4 and 14–18
• Joaquín Rodrigo: Concierto de Aranjuez: Adagio

Clarinet with Bass Clarinet Specialization

Clarinet

• Two contrasting movements of your choice from the standard solo repertoire (e.g., Mozart Concerto, Weber Concerti, Nielsen Concerto)
• A work of your choice from any musical genre or cultural background about which you are passionate as an artist. This may include original works or arrangements by the applicant or any other selection from the repertoire.

Bass Clarinet

• One movement of a J. S. Bach cello suite (original or transposed keys)
• One contemporary solo piece of your choice (e.g., Elliott Carter: "Steep Steps"; Loevendie: "Duo"; Isang Yun: "Monologue")

Your choice of two of the following orchestral excerpts:

• Maurice Ravel: La Valse
• Igor Stravinsky: Rite of Spring
• Ferde Grofé: Grand Canyon Suite
• Dmitri Shostakovich: Violin Concerto
• Ravel: Daphnis and Chloé, Suite No.2

Bassoon with Contrabassoon Specialization

Bassoon

• Two contrasting movements of your choice from the standard solo repertoire (e.g., Mozart Concerto, Weber Concerto, Tansman Sonata)
• Jenni Brandon: “Colored Stones” (pub. Imagine Music Publishing)

Contrabassoon

Complete orchestral parts for the following works:

• Maurice Ravel: Mother Goose Suite
• Ravel: Piano Concerto for the Left Hand
• Johannes Brahms: Symphony No. 1
• Dmitri Shostakovich: Symphony No. 5

Multiple Woodwinds

No pre-screen required.

All multiple woodwind applicants should demonstrate ability on at least three different woodwind family instruments (i.e. no multi-clarinets, no multi-saxes). For the applicant’s primary instrument, the applicant should prepare two contrasting movements from the solo repertoire. For every other instrument presented, prepare a work(s) that demonstrates current levels of technical and musical proficiency of at least five minutes in duration per instrument.

Applicants who are interested in auditioning for the multiple woodwind program will first need to schedule an audition for their primary instrument, then reach out to the Office of Admissions to schedule auditions for their other instruments.