Audition Repertory by Instrument

• Solos by Barat, Jacob, Capuzzi, Herbert L. Clarke, or other works of similar difficulty
• Etudes by Bordogni/Rochut, Blazhevich, Kopprasch, or Tyrell
• Band or orchestra excerpts as appropriate to training and experience

• Any complete concerto from the standard concerto repertory, such as Mozart, Strauss, Gliere, Jacob, Haydn, etc.
• A movement from the standard recital repertory, such as Hindemith, Ewazen, Beethoven, Schumann, Cherubini, etc.
• Etudes from any three of the following: Maxime-Alphonse Etudes, Book 4, 5, or 6; Kling; Kopprasch; Neuling; Belloli; Gallay; Reynolds
• Three to five orchestral excerpts from the standard repertory (Beethoven, Mahler, Brahms, Strauss, Tchaikovsky, Shostakovich, etc.)
• All major and harmonic minor scales, 2-3 octaves, in eighth notes at quarter note=112-126, and corresponding arpeggios

• A solo work chosen from the following: Grondahl concerto, Jacob concerto, Wagenseil concerto, Hindemith sonata, Sulek sonata, Casterède sonata, Galliard sonata, Guilmant, or Bozza
• One etude from Rochut Melodious Etudes 1-24
• Orchestral excerpts as appropriate to training and experience
• Sight-reading in alto and tenor clefs

Applicants in jazz studies and contemporary media should refer to the section on jazz for additional requirements.

• A solo work chosen from the following: Spillman concerto, George concerto, McCarthy sonata, Harley sonata, or Galliard sonata
• One etude from Rochut Melodious Etudes 1-24
• Orchestral excerpts as appropriate to training and experience
• Sight-reading in bass clef

• Arutunian, Haydn, Hummel, or Tomasi concerto
• Hindemith or Kennan sonata
• Contrasting etudes by Charlier and/or Bordogni
• Orchestral excerpts: Mahler, Symphony No. 5 (opening); Beethoven, Leonore Overture No. 3; Stravinsky, Petrushka (“The Ballerina”); Mussorgsky-Ravel, Pictures at an Exhibition (“Promenade”)
• Sight-reading

MM, DMA
Prepared repertory should include contemporary solo literature and orchestral excerpts. Possible sight-reading. Familiarity with high horns and transposition is required.

Applicants in jazz studies and contemporary media should refer to the section on jazz for additional requirements.

• One Bordogni melodic study
• One Kopprasch technical etude
• All scales
• Excerpts: Wagner, “Meistersinger” Overture (Letter J to the end) and Ride of the Valkyries
• Performance majors must also play the Vaughan Williams Concerto (mvt 1 or 2); Music Education majors whose instrument is tuba must play the Edward Gregson Concerto (mvt 1 only)

• One Bordogni melodic study
• One Kopprasch technical etude
• Excerpts: Wagner, “Meistersinger” Overture (Letter J to the end) and Ride of the Valkyries; solo from Stravinsky, Petrushka; solo from Berlioz, Hungarian March
• Performance majors must also play either the Vaughan Williams Concerto or Penderecki Capriccio in their entirety.
• Education majors must play the Vaughan Williams Concerto, mvts 1 & 2

• Jazz audition: Applicants must be prepared to perform 3-4 jazz selections in varied styles and improvise on each of them. (One audition with an Eastman student rhythm section; one audition with other applicants on that day.)
• Classical audition: See individual instrumental guidelines

• A Prelude and Fugue or Toccata by J.S. Bach
• Representative portions of a 17th- or 18th-century French dance suite
• A composition from the early 17th-century Italian school or the English virginalist school
• A composition of choice from any historic period (may include 20th-century works).

• The French literature of the 17 th and 18 th centuries
• The English virginalists
• Italian music of the 17 th century
• A selection of the applicant’s choice from any historic period.

• At least one work by Bach or another Baroque composer
• Two selections by a Romantic or contemporary composer, one primarily lyrical and one primarily virtuosic

MM
Applicants should prepare a program of not more than 30 minutes, including a major work of J.S. Bach. Other works should be of contrasting styles and periods, and should include at least one lyrical and one virtuosic selection. Performance from memory is encouraged, but not required.

DMA
Applicants should prepare a program of not more than 40 minutes, including a major work of J.S. Bach. The program should reflect the applicant’s breadth of knowledge of the organ repertory, and their highest technical and musical achievements. Performance from memory is encouraged, but not required. If the applicant is skilled in improvisation, a five-minute improvisation may be part of the program.

For organ specifications, click here.

• One virtuoso concert etude
• A work by Bach that contains a fugue
• A complete classical sonata by Haydn, Mozart, Beethoven, or Schubert
• One Romantic work from the 19 th century
• One work from the 20 th or 21 st century.

MM
Applicants must prepare a 45-minute audition program, to be performed from memory, including one virtuoso concert etude and at least three works representing contrasting styles.

DMA
Applicants must prepare a 60-minute audition program, to be performed from memory, including one virtuoso concert etude and at least three works representing contrasting styles. An audition in Rochester is required.

Applicants in jazz studies and contemporary media should refer to the section on jazz for additional requirements.

• Snare drum: etudes from Cirone, Albright, Firth, Peters, Lepak, Aleo, Delecluse, or equivalent solo material
• Timpani: etudes from Firth, Hinger, Lepak, Beck, Delecluse, or equivalent solo material
• Marimba: solo material displaying two-and four-mallet technique (e.g., Stout, Burritt, Bach, Musser, Creston, Basta, Kurka, or music by Japanese composers)

Applicants in jazz studies and contemporary media should refer to the section on jazz for additional requirements.

• One movement from one of the following double bass concerti: Bottesini, Capuzzi, Dittersdorf, Dragonetti, Koussevitsky, or Vanhal
• One contrasting solo work of the applicant’s choice
• One orchestral excerpt of the applicant’s choice from the standard repertoire
• Two scales (one major, one melodic minor) of the applicant’s choice in two or three octaves.

Applicants in jazz studies and contemporary media should refer to the section on jazz for additional requirements.

Applicants in jazz studies and contemporary media should refer to the section on jazz for additional requirements.

• Three contrasting works of the grade of difficulty of: Ibert, Réflets dans l’eau; Natra, Sonatina or Prayer; Handel-Grandjany, Prelude and Toccata
• An etude selected from the Bach-Grandjany Etudes for Harp

• An etude selected from Bach-Grandjany Etudes for Harp or Posse Eight Great Concert Etudes for Harp
• Three works of contrasting style from the following periods: 20th-century French, contemporary, and Baroque or Classical period.

• A movement of a concerto from the standard repertory: J.C. Bach, Bartók, Bloch, Handel, Hindemith, Hoffmeister, Stamitz, or Walton
• One movement from a piece for solo viola, or viola and piano
• One movement from a solo suite or sonata/partita of J.S. Bach
• One etude or caprice
• One three-octave scale and arpeggio

• A major concerto from the 20th century or contemporary repertory
• A major work for solo viola or viola and piano
• Two contrasting movements from a solo suite or sonata/partita of J.S. Bach
• An advanced etude or caprice
• Major and minor scales and arpeggios may be requested by the committee

• A major concerto from the 20th century, or contemporary repertory
• Two major works for viola and piano or solo viola, one written in the past 20 years
• A complete solo suite or sonata/partita of J.S. Bach

• A movement of a concerto from the standard repertory by a composer such as Mozart, Mendelssohn, or Bruch
• Two contrasting movements from an unaccompanied Bach sonata or partita, or two contrasting movements from a Baroque sonata by a composer such as Handel or Corelli
• An etude from one of the standard etude books, such as those of Kreutzer, Fiorillo, Rodé, or Dont
• Three-octave major and minor scales and arpeggios

BM
Each of the following:

• One movement of a standard concerto of moderate difficulty, such as Saint-Saëns, Lalo, or Romberg
• Two movements of a standard sonata, such as Sammartini G Major, Francoeur E Major, or Boccherini A Major
• Two contrasting movements of a Bach suite
• Two contrasting etudes (e.g., Popper numbers 6 and 8, or Duport numbers 1 and 7)
• Major and minor scales and arpeggios in three or four octaves

MM PRL, DMA
The required repertoire for all three graduate performance degrees is identical: Four pieces, with one of the four being an operatic aria, in at least three different languages, one of which may be English. Non-native speakers of English must perform one piece in English.

• Standard concerto (i.e., Mozart, Weber)
• One or two etudes such as are found in Milde Concert Studies, Vol. I
• Two contrasting orchestral excerpts of the applicant's choice as appropriate to training and experience

• Mozart or Weber concerto
• Debussy Première Rapsodie or other French solo piece
• Excerpts from Rose 32 Etudes
• Orchestral excerpts as appropriate to training and experience

BM
Each of the following:

• A Mozart concerto
• A sonata by Bach, Handel, or Telemann
• A solo piece of your choice
• Orchestral excerpts as appropriate to training and experience

MM, DMA
Prescreening requirement: By December 1, all graduate flute applicants must submit a preliminary audition recording. Please see the online application for more information on prescreening. The prescreening CD must include each of the following:

• Mozart: First movement from D or G major concerto
• Bach: 2 movements from a sonata of your choice
• A solo piece of your choice
• 4 standard orchestral excerpts:

1. Beethoven: Leonore Overture (Flute/Bassoon duo only)
2. Brahms: Symphony IV
3. Mendelssohn: Scherzo from Midsummer Night's Dream
4. Hindemith: Symphonic Metamorphosis

The following lists repertory requirements for graduate applicants invited to a live audition and those auditioning only by recording:
Prepared repertory should include the undergraduate repertory in addition to a work from the contemporary solo literature and orchestral excerpts.

• Any concerto from the standard repertory (such as Mozart, Marcello, Strauss, etc.) OR any sonata from the standard repertory (such as Handel or Hindemith)
• A standard study, such as Barret or Ferling
• Orchestral excerpts as appropriate to training and experience

• Any concerto or sonata from the standard repertory, such as Glazunov, Creston, or equivalent
• Two etudes of contrasting tempo, such as Voxman, Ferling, or Karg-Elert
• Possible sight-reading

Applicants in jazz studies and contemporary media should refer to the section on jazz for additional requirements.