Audition for Bachelor of Music in Music Education and Music Therapy

Voice

Applicants must prepare and perform all of the following requirements for the audition:

1. Perform from memory two songs from the Italian Anthology.
2. Optional: An Arte song from memory (lied, French melody, etc.)
3. Sight-reading

Piano

1. Technique:

   1. Harmonic major and minor scales to 2 octaves
   2. Major and minor arpeggios of 2 octaves
   3. 1 technical study of intermediate difficulty (Czerny Op. 636 or equivalent)

   Repertoire:

   • Prepare one work from each of the following stylistic periods (Baroque, Classical, and Romantic).

    

   Sight-reading: Applicants will be asked to sight-read an excerpt from a solo piano work on the day of the audition.

    

   NOTE: All repertoire and study pieces must be presented in their original form. Under no circumstances will arrangements or simplifications be accepted. Playing from memory is not required.

Guitar

1. Major, minor and dominant seventh chords in fundamental position.
2. Two major and two minor scales, two octaves.
3. A study by Fernando Sor, to choose from numbers 2 to 5 according to the numbering of the Andrés Segovia edition (we suggest numbers 4 or 5).
4. A study by Mateo Carcassi, to choose from numbers 1 to 4, op.60, according to the numbering of Miguel Llobet's edition (we suggest numbers 2 or 3).
5. A simple short piece from the classical guitar repertoire. Spanish Anonymous Romance will not be accepted.
6. Sight reading, in two voices.

Orchestral instruments (Strings)

Violin

1. A scale greater or less than three octaves with its arpeggio. The scale must be played in ligatures of 2-4-8 notes per bow at quarter note tempo = 53 (Galamian or Flesch format). The arpeggio will be performed in slurs of 1-2-3 notes per arc at quarter note tempo =532.
2. One (1) study of Wohlfhart Op.45 Book II (Schirmer Edition) to choose from numbers 31-60
   NOTE: The Carl Fischer (Foundation Studies) edition of the Wohlfahrt is also acceptable as long as the chosen study works in third position.
3. One piece (1) of free selection (Vivaldi Concerto in A minor, Concerto in G minor, Dancla Air Variés #4, #5, or #6, Rieding, Concerto in A minor Hungarian, Fiocco Allegro, etc.)

Viola

1. A three-octave scale, from two to eight notes per bow (quarter notes to sixteenth notes) The arpeggio corresponding to three octaves, tied from three (3) to nine (9) notes per bow (quarter notes to eighth note triplets).
2. A Kreutzer study (no. 3 onwards), Dont Op. 37 or Bruni
3. Two contrasting movements from a Bach suite
4. A movement from a concerto from the standard repertoire (with cadenza, if available)
5. Sight-reading.

Cello

1. A scale to three octaves; in ligature of 8 notes per bow. Metronome: quarter note=92. Preferably in Yampolsky format
2. A technique study to choose from the following:
   • Duport #7; Popper: #1 or #6. More advanced studies by the same or another author will also be acceptable.
3. The first movement of a standard concerto or sonata. You can choose between the following:
   • Duport – Sonata in C major;
   • Golterman – Concert #4;
   • Golterman – Concert #3
   • Repertoire of greater difficulty will also be acceptable.
4. Sight-reading.

Double bass

1. Knowledge of the basic positions of the instrument. You must have at least control up to sixth position.
2. Basic bow control
3. Two movements of a Baroque sonata: Vivaldi, Marcello or Telemann
4. A study for double bass
5. Scales preferably two octaves
6. Sight-reading.

Harp

1. Harmonic major and minor scales with their arpeggio to four (4) octaves
2. A repertoire piece to choose from:
   • Grandjany, M–Le bon Petit Roi D'Yvetot
   • McDonald, S.–Toccata (Sabre Dance)
   • Pratt, Milligan–Sonatina in Classic Style
3. A study of the method: Boscha, CN—Célèbres Études pour la Harpe, Quarante Études Faciles Op. 318, Vol. 1.
4.  Free selection work in contrasting style.

Percussion

The audition must be submitted in one or more of the following categories:

Snare Drum and/or Drums

1. Twenty-six Rudiments.
2. A Study of the Modern Snare Method by M. Goldenberg, G. Whaley, or its Equivalent in Difficulty.
3. Sight-reading

Keyboards

1. Major and minor scales with their arpeggios to two (2) octaves.
2. A study of M. Goldenberg's keyboard method or its equivalent.
3. Sight-reading

Timpani

1. Instrument Tuning
2. A study of the tympani method of S. Goodman or G.Whaley.
3. Sight-reading.

Orchestral instruments (Woods)

Flute

1. Study by Andersen, Op. 37 or Op.41 or by Kohler, Op.332.
2. Two works with piano accompaniment representative of the Baroque period and the French School
3. Major and minor scales
4. Sight reading

Oboe

1. Major and minor scales
2. To choose from the book Favorite Oboe Solos or a sonata by Handel or Telemann
3. Sight-reading.

Clarinet

1. Major and minor scales
2. Two studies from Voxman's Selected Studies or its equivalent
3. Sight-reading.

Bassoon

1. Major and minor scales
2. A Gallarda, Telemann Sonata, or its equivalent
3. Sight-reading.

Saxophone

1. Major and minor scales up to four sharps and four flats
2. A study or piece from the saxophone repertoire (Rascher Collection). They can be studies or exercises from Selected Studies Rubank, Small, Larry Teal Solos for Alto Sax, Voxman Concert and Contest Collection (have an additional copy for the jury)
3. Sight-reading.

Orchestral instruments (Brass)

Trumpet

1. Major and minor scales
2. A study of the Louis A. Saint–Jacome or Arban's method
3. Sight-reading.

French Horn

1. Major and minor scales
2. A study by Koprach, Vol. 1 or its equivalent
3. Sight-reading.

Trombone

1. Major and minor scales and arpeggios
2. Joanes Rochut: Melodic Study No. 6 (Fischer) Arban's Method: Introduction of the Brilliant Fantasy (Fischer or Encore)
3. Sight-reading.

Bass Trombone

1. Major and minor scales and arpeggios
2. Melodic study, no. 6 by Joannes Rochut.
3. Two contrasting movements of any baroque sonata

Tuba

1. Major and minor scales
2. A piece of Arban's method or its equivalent
3. Sight-reading.

Important: Successfully passing the audition does not guarantee admission to the Conservatory of Music of Puerto Rico. Admission is contingent upon meeting all admission requirements, satisfying the minimum academic requirements, and the availability of space in the selected academic program. If the number of qualified applicants exceeds the number of available openings, a waiting list will be established. Applicants placed on the waiting list will be notified of their ranking by postal mail. Placement on the waiting list does not guarantee admission for the academic year in which the application was submitted. Applicants who are not offered admission due to limited enrollment must submit a new application and complete the audition process again for a future academic year.