Audition for Bachelor of Music in Musical Education by instrument


The candidate must be prepared to present all of the following repertoire indicated in his audition:

  1. Perform from memory two songs from the Italian Anthology.
  2. Optional: An Arte song from memory (lied, French melody, etc.)
  3. Reading at first sight.


  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)


    • A work of each style (Baroque, Classical and Romantic)


    Sight reading: you will be given an excerpt of a solo piano piece to read 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.


  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)


  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.)


  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


  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


  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.


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. Reading at first sight.


  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. Reading at first sight.


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

Orchestral instruments (Woods)


  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


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


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


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


  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)


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


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


  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


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

IMPORTANT: Passing the audition does not necessarily guarantee that the student will finally be admitted. Admission to the Conservatory of Music is subject to the candidate meeting the average, all admission requirements and the availability of spaces in the requested study program. A waiting list will be created in the case of those studies where the number of admitted students exceeds the available spaces. If assigned to a waiting list, appointments will be announced via regular mail. Your enrollment is not guaranteed for the academic year in which you applied. If there are no spaces available in the waiting studio, the student must apply and audition again for the next academic year.

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